
*\ 




c*v ^ 0 o /. \ r^r * b 

'L'* '> A *' •,*%\* • 1 '‘ v'\^> 5 N ^ „ 

' ^rA^ST/ln ° ^ A> * * > A ^ 

A. A ?y$KA° « Jplifi - %£ - 

A v .__ / AAJ-Kv\\ — 

A> % ° 

^ cs -4 

* A -3 * 

A t o*c ,-*- 

fTV * r^Wx ^ O 




A A N <• «,-*b o> V* 

A 'AAk' . 0 * 

--* 1 ss*sr> * 

<S> 





A 



Aa3T’"V ,. 

A> AVAA A V A 

° 'A> \V 

^ _ -7 


y 0 * K ” A 
A v 



•c* 


V 


"'-.^■ 3 "“/»’*» f V*"'*'v' 

^ A » f ,5 S> ? ’■£> . V 

- %/ W - 

o 

? ^ O 

it 



‘S . 

M r- A- ’ J * * S 4 A , I d vo 

1 , A °o (J V y yrnL* 

</. A 
« OO 

* 4 -/■ * 

' A ^ -, 

^ O* y * 

\^ ; . . , ' S '''- " 3 K 0 ’ 

V ,"l^ r *, > . ^ 

* ^ e 

- 1> V 






A % 


: ** v %'»^SP *° A’ ^ 

^••"V 6 ..... V' # ’‘V c»«« 

^ °b 0 ° A •* * A * 

^ V = a* 

■& 





* , » 1 iTi*' A\»»,'^/*r^f’*A ° 0 A, *«, 

v'aI^. > ^ ,-A/c 

*• .<£ - 

z ^ ' 


^ aV </> 

^ o ' 1/ ^<^' J '' * ^ ,jP j> » ^ 

' S ' / . . ' ■ , \ J °° h V V c.«« Sb* J * * 

ln_ *i -<f> * e^SN\ ^ <—> 

A' ^ ^ 

« o o x • • + ^ 

* 4 rtt * 1 

> ,r A ^ 

O ' ci+ .✓ 








-\ 


,^ 4 > ^ , 0 ^ V v p' 

* 'K<- <A flr |A ° AV « 

^ ( 4 o ^ rC\\ Sr /A. o o 

_ \v^\\iar- UJ//S) ^ ^ 'TS//&. 4 \\\V 

X? 



*o A 

° ^ ,y 

^ A < 4y o 4 ^ ^ 

N c '* 1 '*' ^ ^ *N , i i> . A ' 

°o ^y 111- ^ A 

. v 6 


17 <>^ V ^ 

« o o' 

'•* A a, *, 

o 4 . x «- y y AAA 

^ > 9 , A A _ r -A_ n Z, 0 ^ A 


































































V 

o o x 





>5 

V . ^ y ^\l\\\w > 

^ <» C\ 

s« » r * 0 H 0 ’ U 0 

*, ^ A° * 

<« & Ar r 



CD 


aV <s- 

AV 


<J\ 


*> '\ v ,f> 




O * 



0 


0 N 


r \V* ^ 4TS 

° V> ^ o 

o*k* A O V^s' ^ ^ % 

-V f 0 N G ^ ‘ A S ^ 



A\ 



0 o 


J 'Sy <s> " 

* <a v -a » 

^ V v> 

a * ■> A'-' . , „ Cy * 0 V X ■* ,, * 

, - .V^a, V °o o 0 ' a • A - % A .‘IT «, % 

^\ h. c sn\\YY\^^ ^ ^ •s' jjr{ ' ’ / C 2 - \\ ^ ^ 

^ K c 0\ 



<y v 

O o x 


4 *7\ 

^ ^ \ v ~J ^ 

\ ^ v>> 




<*' '’■'vfeV * ° N0 >°°, < * o,V* • 1 ’* v'V • 

r \V ^ * jAW 4 ° <* <v * 






<V 



C,^ ^ » 



.. V 


o < 


>5 % 


^ -9 


^ * 



rfc v V ©-> r.0 v v"- / 


* ,0° 



O 0 


^ o5^ ' 7 t^» ^ 



l K 



^ 0 N ° ^ 


* 


<* -N A U V- 

- % ^ " 
f / v* 05 


®5» ^sn 

Y * 0 s> ^G> 

* 


o « r > ' 3 N 0 


£ y< V -* 


0. X* A 

.# .c ° ~ » « . ''o- 



O 

° ^ <§> 


\> 


-z 

e> ' < ^<, o 

* -,v V' ^ 




s A° 


-V 





0 * x 


^ V 




o o 



’•*- 4 o 1 V s - s *• '/, 




<p 


r ° 




/- 



^ A 

A \ o N G „ 

AV C U -P C> 

v ^ » ^ o 

^ ^ ' 
c : ■* 

• K « ’‘o/ . . . \^3V 




H 




s- v * 0 p o 


A> * 


** s W v,, « 





° ^ ^ «- 


^ v 

o 0 


CD 

* fy '.A ■» 

^ els V> 

<* . y 0 * \ ^ A C) ''^ . . s' \U' 





0 * 



cy y 

) » k ” /\ <D y y, . , v 

* * * 

^ ^ f -> 

N ^ 



'A A 


O 0 


o5 ^ 

\V" ^ 

v .A' 



A V 

0 * K ~ A vD, ❖ , 

X c 0 N C A * * 

^ _rAS>f\ <*■ O 


^ oV ^ ^ 

^ -u y * 

o v * v 1 B 
c> v 

^ *N u^>/rr^-> , v 

r. A ^ c 


■7 -T 3 





















































The 

Photoplay 

: 

Writers’ Aid 
Book 



“HELPFUL HINTS” 

and 

“BITS OF ADVICE” 
On Motion Picture 
Writing. 

In this book will be found the funda¬ 
mental principles of writing the 
Photoplay Stories, 


By 

HAROLD A, MOHR 









“ACTION — READ” 


THIS BOOK 
Consists of 


A Synopsis, Complete Story, 

Cast of Characters, Scenario 
and Scene Plot 

As they were written for Motion Pictures 


Including 


“HELPFUL HINTS” AND 
“BITS OF ADVICE” 


Also 

Names and addresses of well- 
known Producing Companies 
and their desires for stories 
to be produced at the time 
of this publication. 


The Story includes: 

LOVE, MYSTERY AND 
DRAMA. 

A Court Trial included. 










The entire contents of this book 
are protected by the copyright law 

Copyright, 1922 

by 

Harold A. Mohr. 

All rights reserved including that 
of translation. 


Printed in the 
United States of America. 



©CI.A681368 

4* 


AUG 14 1922 








THE PHOTOPLAY WRITERS’ AID BOOK 


3 


“The world is a Stage”—Life itself 
is a mo§t wonderful theme, con¬ 
sisting of many plots, and the 
people its actors. 






4 


THE PHOTOPLAY WRITERS’ AID BOOK 


A Photoplay 


SYNOPSIS 


In Facsimile 


“The Love of Ouy Wing,” 

As written and prepared for submittance to a producing company 
will be sent upon receipt of 

— ONE DOLLAR — 

(While they last.) 

This Synopsis is written within regular form, and it is a good 
model for the new writer to follow in preparing his own story. 


Enclose self-addressed stamped envelope with remittance. 

HAROLD A. MOHR 

31 Twenty-first Street 


Toledo, Ohio 



THE PHOTOPLAY WRITERS' AID BOOK 


5 


CONTENTS 


Page 


INTRODUCTORY. 7 

SYNOPSIS—“The Chosen Path”. 8 

jPLOT IDEAS—How to Get Them... 10 

[STORY, COMPLETE THE—“The Chosen Path”. 12 

CAST OF CHARACTERS—“The Chosen Path”. 51 

SCENARIO, or CONTINUITY—“The Chosen Path”. 52 

(SCENE PLOT—“The Chosen Path”.:. 91 

GLOSSARY, OR PHRASEOLOGY, used in most all studios, and 

in the Writing of Scenarios. 93 

[HELPFUL HINTS and BITS OF ADVICE on Writing, Including 

the Censorship Objections, etc., What Is Desired. 96 

SUBJECTS FOR STORIES. 100 

|a chart for WRITING. 101 

SUGGESTIONS OF DONT’S.. 102 

ARRANGEMENT OF SYNOPSIS. 103 

THE MARKET FOR SCENARIO STORIES. 104 

NAMES AND ADDRESSES OF PRODUCING COMPANIES, 

and their Desire for Stories. 109 

QUESTIONS IN REVIEW. 112 

A SHORT STORY—“A True Confession of a Hasty Marriage”.... 115 



























THE PHOTOPLAY WRITERS’ AID BOOK 


7 


Introductory* 


Entering upon prosperity is easy if you only have the key—here 
it is: Be wise in time; it’s ever so much better to make sure of your 
footing, then go ahead. “Cost is less and it goes farther.” 

Do you want the blunt truth? Then don’t throw away any 
knowledge of facts. Every day you wait your chances to succeed are 
decreasing. 

Each and every day is worthy of your confidence. Use your eyes 
and ears; use judgment. Learn when possible—how and where you can. 

In this book the HELPFUL HINTS, with BITS OF ADVICE on 
motion picture writing will be of great value to the new writer. Al¬ 
though it is true each and every writer has his own original ideas, a 
book of this nature will be very helpful. 

“Read and see—one way of progression.” 

Then persons with creative minds for telling stories have before 
them the wonderful possibility of the future, if their yarns and stories 
are good. Writing is easy if you adapt yourself to it. There is nothing 
mysterious or complicated about it if you know your subject and 
! purpose of writing. 

“Do not tolerate the strange notion that only a born genius can 
| succeed as a writer. People are born with tendencies, not with 
i talents.” 

If you have the tendency or desire to write you are most sure to 
j succeed if you try and apply your mind hard enough. 

“Nothing ventured, nothing gained” is an old proverb, and it is 
I true. If you are satisfied in one place you are most sure to remain in 
the same routine unless you awake to your senses and be progressive. 

Success is not served until you request it by being progressive 
and begin to act. 

Remember, at all times progression is the foundation of success. 

The following is one author’s version of the Motion Picture and 
Scenario Writing, that it may be of aid to others new in the field: 






8 


“THE CHOSEN PATH ” 


Synopsis* 


During the school-days of Roland Morgan and Raymond Pohl they 
favor Ruth Brown. 

Ruth invites them to her party. Roland becomes jealous of 
Raymond. They fight. Raymond is pushed in front of an automobile; 
his leg is broken. Roland runs away. Paul Wirt, friend of Raymond 
and enemy of Roland, sees the occurrence. He tries to be of assistance 
to Raymond and rides along to the hospital. 

Paul notifies Raymond’s mother. She is frantic and rushes to the 
hospital. 

At the party Ruth inquires about Raymond. Roland lies to her. 
Paul is angry at Roland and tells Ruth the truth of what happened. 
She then hates Roland and goes to sympathize with Raymond. Later 
a reconciliation is brought about by Mrs. Brown, but Paul remains an 
enemy to Roland by choice. Paul and Raymond become very good pals. 

Years pass to the age of their twenties. The childhood love for 
Ruth still exists by Raymond and Roland. They are friendly, but 
Paul remains to be an enemy of Roland. 

Raymond is a drug clerk; his best friend, Paul, is a taxi driver. 
Roland returns from college. Raymond and Ruth have been very good 
friends, but since the return of Roland she snubs Raymond and her 
attention is given to Roland. Her mother desires this, as Roland is 
wealthy. 

At a dance Paul introduces two lady friends, Esther Stover and 
Hazel Wahl, to Raymond. Roland and Ruth are present. Raymond 
dances with Ruth. They then walk to a balcony, in private. Raymond 
declares his love. Roland suddenly appears, demanding an explanation. 

Ruth chooses Roland; he kisses her in the presence of Raymond 
who becomes enraged. A fight follows. 

Roland pulls a revolver. Paul arrives in time to save Raymond, 
taking the revolver from Roland. The fight ends. Ruth and Roland 
walk away. 

Raymond and Paul then leave with Esther and Hazel. A taxi is 
called. They drive to a bootlegging roadhouse. Raymond and Paul 
become intoxicated. The girls are all right. They start for home. 

Paul forgets his top coat with the revolver taken from Roland. 

Next morning Raymond and Paul are arrested for the murder of 
B. E. Morgan (Roland’s father). 

At the trial Raymond is acquitted. Paul is a victim of circum¬ 
stantial evidence. Raymond accepts a position as taxi driver. 




THE CHOSEN PATH ” 


9 


Later Roland and Ruth are married. Meanwhile Raymond, seek¬ 
ing information to free Paul, finally discovers the guilty person of the 
crime, Ben Wolfe. Ben confesses how the murder occurred, with 
Roland’s revolver and Paul’s coat. 

Paul is released and thankful to Raymond. 

“As time passes, changes will occur.” 

Four years later Roland and Ruth have a son, three years old, 
named Junior. Ruth is unhappy with Roland. He is now interested 
in another woman, Esther Stover, but this is unknown to Ruth at 
present. 

Raymond now owns a drug store. Hazel is employed by him and 
is favored by Paul, who now has a used car for a taxi. It seldom works. 

The taxi is wrecked by a fire truck answering a call to Paul’s 
home, which is burning. 

Raymond and his mother befriend Paul and his mother and secure 
a loan to start Paul again in the taxi business. 

Paul responds to a call. It is Roland, who had called a taxi after 
having had a quarrel with Ruth. At the destination Roland steps out, 
not recognizing or paying Paul for service. Paul follows Roland and 
discovers it is Esther whom Roland had called upon. Esther pays 
Paul, and while trying to peek through a key-hole he is discovered. 
Paul then walks away, finding a cuff-link. 

Upon calling to see Hazel at the drug store, Paul meets Ruth 
talking to Raymond. The cuff link is shown in a joking way and 
immediately recognized by Ruth as one of Roland’s. It is then given 
to her, but Paul does not mention where it was found. 

Ruth is suspicious of Roland. She, with Junior, call unexpectedly 
at his office, discovering Esther with money in her hand kissing 
Roland. Ruth denounces Roland and later obtains a divorce. 

Roland and Esther continue their friendship and are killed in an 
auto accident. 

The betrothal of Paul and Hazel is finally agreed upon. At the 
same time Raymond and Ruth admit their love for each other. 

With Junior in one arm of Raymond’s, Ruth in the other, all are 
Ivery happy. 






10 


PLOT IDEAS—HOW TO GET THEM 


Plot Ideas—How To Get Them. 


If you have read the synopsis of this story, do you see the Theme 
and Plot? 

The Theme is the mistakes in life and the final occurrence. 

The Plotting consists of jealousy, hatred, circumstances, friend¬ 
ship and enmity. J 

After reading the main idea the rest of the plot is simple. All 
that is necessary is to PAD it with development toward the climax 
and finis. Of course that cannot be accomplished without thought, 
but it is easier to develop an idea than to think of one, sometimes. ,! 
Think for yourself; use judgment. 

Many ideas can be originated from this synopsis if you can accept 
plot suggestion and make it do a few stunts, but usually it is a matter 
of practice. 

If you practice upon this synopsis with thought—you will find that 
extending this idea of a story, into a complete plot, should be almost 
automatic. 

You will find plot ideas all around in this story, if you know how 
to distinguish them after they are found upon reading. And getting 
plots becomes in time just as simple as developing them. 

There are many plots in this story and a hundred or so more can 
be worked from this foundation. Any one with a slight knowledge of 
plotting can develop more than one plot from this story—that's the 
purpose of it as written in this book. But do not try to originate any 
form of plot that would be too highly improbable for the screen if you 
wish to write Photoplays. 

In the course of time you will learn to see a story suggestion in 
almost everything, even the newspapers. 

It may seem to the new writer that this is an impossible state to 
reach, but study and practice makes a person more enlightened. 
Try it out. 

Plotting will no longer become a matter of laborious effort, but 
your development must be selective and original. 

It is mostly subtle persuasion that appeals to most people and 
makes the most successful stories. 

As soon as a reader becomes conscious of your story he begins to 
shy off. The strongest influences are often those subtle forces which 
draw us along without a chance to analyze them. 




PLOT IDEAS—HOW TO GET THEM 


11 


In preparing your story you might find it harder to make a selec¬ 
tion than a collection of good points. The effectiveness of your story 
lies more in wise selection than in mere getting together of raw mate¬ 
rial which has no bearing upon the purpose of your story. 

An over-stuffed story is very uninteresting. 

The person who attempts to write upon a subject, before he gets 
a good mental grasp of it, is a good deal like the fool rider who would 
commence to whip and spur his horse before he gets hold of the reins 
and his feet in the stirrups. 

The wise writer makes it a rule to not only know and understand 
his subject and purpose of his story, but to understand just why 
people should be interested in what he has to offer, although writing, 
like people, must be more than merely pretty, nice and smooth to make 
a good and lasting impression on hard-headed, indifferent persons. 
You cannot please them all; everyone has different ideas. 

No matter what your story is, it should contain a feature that is 
different, and more strongly marked than other stories, with original 

I plots. It’s the thing that holds interest and by which people distin¬ 
guish your particular methods and subjects of writing from your 
neighbor’s that ought to be brought out prominently in all your 
writings. Then you will please most surely some people. 

If you want people to read your* stories, change the plots from the 
ordinary writing of other stories. Similarity of plots tires the reader 
: and holds no interest. 

Don’t imagine that the public eye is focused upon your particular 
t: story or plot. Make it stand out where it simply can’t be missed. 
Keep in mind, however, when we speak of new plots we refer to every- 
| thing in your story that makes an impression upon the reader. 

A thoroughbred writer is one who can absorb wisdom from every¬ 
day occurrences in life, then write it off in glowing thoughts in his 
story, with plenty imagination of the possibilities. 

If you saw a carpenter trying to drive a wire nail into a solid 
block of steel you’d think he was a trifle short on common sense. Yet 
you occasionally read a story just about as absurd. 

Trying to tell your story as somebody else tells his is sham. Be 
original and people will know it as surely as they know an artificial 
rose from the real one. But sometimes it is necessary to scent them, 

| it is true. 

When you do the best you know how and realize that self- 
I confidence is the reward for learning to do things by doing them, 
you’ll soon forget your “busybody” critic and competitors and become 
a “thorn in their garden,” protecting yourself. 

As you read through the following in this book, just jot down 
the qualities that appeal to you the strongest. 

When you have done this you will have obtained material that can 
be developed and employed in the construction of an effective story. 
But by all means be original in creating your theme and plot. Study 
life and the occurrences—that is a good way to get plots. 







12 


“THE CHOSEN PATH ” 


“The Chosen Path.” 

A Photoplay Story from Life 
(Offered for Production) 

Copyright, 1922 

By 

Harold A. Mohr 

All rights reserved, including translation. 


FOREWORD 
Some People Say: 

Your Life and happenings in Life are supposed to be. 
In Answer , We Say: 

Your life is as you plan. The happenings are sometimes 
encouraged by you. 

If you do right, and do your might to be right, you will 
live right, and the reward will follow. 

In this life we all encounter many different experiences: 
some learn from others, some by themselves, and some learn 
from experience or from the experience of others, without a 
scratch or hardship endured. 

The story that follows, you will see, 

One which, to be true, could be. 

Beginning at the age of years just ten, 

Ending at a time we know not when. 


At a public school, in full attendance, the rich and poor scholars 
in one classroom are given no preference by our instructors; only the 
one thought for their education to be of benefit to them in future 
years. 

In one row of seats is the son of a wealthy man, Roland Morgan. 
Seated behind him is Ruth Brown, daughter of a family of modern 
circumstances. 

In the seat following her is the more studious son of a poor 
family. His name is Raymond Pohl. Raymond wishes to advance 
himself in life and realizes that study is the only way to progress. 

While the entire class is at study (the arithmetic lesson) our 
attention is attracted to Roland, Ruth and Raymond, in the same row 
of seats. 






THE CHOSEN PATH 


13 


Roland is having a hard time to get the answer of the problem, 
while Ruth is depending upon Raymond for help as the custom has 
been during all previous lessons. 

Raymond, studying very hard, has the problems completed. As 
usual, his answers are correct. 

A copy of his answers is then passed forward to Ruth, seated in 
front. She accepts the same as usual and after making a copy for 
herself passes them to Roland in a very sneakish way. 

Miss Williams (the teacher) looks over the rim of her glasses 
i just in time to suspect the actions of the three, but at this time has 
nothing to say, only the appointment of Paul Wirt to collect the 
answers from all scholars. 

Very few boys wish to be appointed to collect the answers or do 
most anything for the teacher because they are classed as the pet of 
i the teacher, but are considerate and do as they are told without delay. 

Paul is a typical schoolboy, of red hair and freckled face, wishing 
to be a friend of his schoolmates, but not the teacher. Still he is 
obedient and has a smile for everybody at all times. He is not con¬ 
sidered as anyone’s favorite because he is from a very poor family and 
his clothes look the part; also a bit untidy. 

He tried to be a friend to all, with a good thought for everybody, 
and his enemies were very few unless they made a joke of him and 
the poor clothes he wore. But as just a kid he could not help or 
prevent the present circumstances surrounding him. 

The answers have been collected from all students by Paul and 
are given to the teacher. She thanks him and in a bashful way he 
; returns to his seat, winking at Raymond as he passes. 

It is now ten o’clock and the entire class of students are excused 
for recess time. 

During recess time, while the scholars are playing outside, their 
[instructor, Miss Williams, is at work comparing and correcting the 
answers of the lesson. 

From the actions of the children while playing many different 
games and discussing problems, it is especially very plain to be seen 
that Ruth favors Roland, even if she is but a child, as they play three- 
j corner catch with a ball, and Raymond at one corner receiving a 
i chance to catch the ball only occasionally thrown by Ruth. 

Roland is a very finely dressed young chap because his parents 
can afford the expense. While Raymond’s mother is a widow, living 
upon a small income, and although comfortably situated, owning her 
property, the living expense and taxes must be paid. 

Raymond is bashful too, but neatly and cleanly dressed at all 
| times and well liked by all of his schoolmates, especially Paul Wirt. 

Recess is over and the children return to their classroom. While 
they were playing the instructor, Miss Williams, has made a decision, 
i A surprise awaits the children upon their return to study. 

As they take their seats, Miss Williams looks over the class with 
suspicion and a final look at Ruth, Roland and Raymond in one row. 
Arising from her seat she walks toward them, then speaks: 





14 


“THE CHOSEN PATH ” 


“All scholars will change seats as I direct.” The books are then 
placed upon top of the desks, all preparing to act as instructed. 

Roland, Ruth and Raymond are separated by the change. 

The sad expression of Raymond will not be forgotten as he looks 
at Ruth seated three aisles away from him. She only sighs and 
glances at him with a worried expression, wondering how she is going 
to answer her lessons in the future after being accustomed to the 
help offered. 

Roland has a mean, contemptible look for the teacher as he 
glances over the top of a book at her, but decides not to worry and 
study his lessons. He is seated in another aisle, separated from both 
Ruth and Raymond. 

Miss Williams is satisfied that she has been justified in changing 
the seats for the future benefit of the scholars’ education. 

The spelling lesson follows. This study never was very pleasant 
for Ruth and it is worse now that Raymond is not in back of her to 
whisper the words to her. She decides to study hard and take her 
mind off someone to depend upon. 

Ruth is called upon to spell, and she fails for the first time. 
Miss Williams, the instructor, now knows she has done the right 
thing by changing the seats and hopes it will be of benefit, that Ruth 
will study and learn for herself. 

Roland is called upon to spell. As luck happens, he is correct in 
spelling the word and seats himself with a smile. 

Raymond is also called upon later. He is correct as usual. Miss 
Williams is now wondering about both boys but feels that the follow¬ 
ing lessons will be convincing to her. It is now noon time and school 
is dismissed to the afternoon session. 

All the students are leaving the school but Ruth, Raymond and 
Roland. They are talking together about the change of seats. Roland 
is peaved at Raymond for being discovered by the teacher. Raymond 
looks to Ruth and says: “I gave the answer to Ruth, not you.” The 
subject is changed by Ruth inviting both boys to attend her birthday 
party the same evening. Both boys are delighted and agree to attend. 

The three then start for home. Ruth, living in one direction, bids 
them goodby, waving her hand as she walks toward home. 

Raymond and Roland, living in the same direction, walk toward 
home together. The childish inspiration of both boys falls to Ruth as 
their first love, it seems to them. It is true throughout the ages of 
men, young or old, jealousy is bound to exist, as it does between 
these two. 

One word after the other turns a quarrel into a fight, as Roland 
speaks insultingly to Raymond about Paul. They begin pushing each 
other about, then fight, after walking only a short distance with each 
other, at a corner near the school, where a sign reads: “SCHOOL 
HOUSE: Automobiles GO SLOW.” The sign is heeded by some 
drivers, but not all. 

One of the speeders is approaching the corner at about forty 
miles an hour. 

Raymond and Roland are fighting hard near the curb. Raymond 
is pushed into the street in the path of the speeding auto. 



r _ “THE CHOSEN PATH” _15 

It is too late to read the sign or think now. Raymond has been 
run over. The speeder never stops and Roland in a cowardly way 
runs that he may not be accused of the happening. 

But Freckles (Paul Wirt) has seen the happening and runs to 
help his most favored schoolmate, Raymond, lying in the street 
helpless. 

Freckles calls to a passing auto. It stops and Raymond is hurried 
:o a near-by hospital. Freckles remains alongside of Raymond for 
:he exciting ride and to identify him at the hospital. 

Raymond is given immediate attention at the hospital and taken to 
a room. He is still unconscious. Freckles remains at the bedside. 
3 A nurse enters with a tray containing the noon meal. She sets it on 
a stand, walks to Raymond and sees that he is still unconscious. 
Freckles becomes very hungry and thinks the meal is for him, but the 
nurse turns around, picks up the tray and leaves the room. 

Freckles is surely disappointed and decides to follow the tray and 
nurse. He never believed in asking for anything because he had 
always been refused by most everyone at all times. 

In every room where there is a patient Freckles enters, and if 
they were sleeping he would just take a little bite or so. Most every 
person would do the same thing if they were as hungry as Freckles. 

It is very amusing to see him help himself. In one room a tray 
had been setting and no one in the room. Well, Freckles just helps 
himself and carries enough back to Raymond, thinking he, too, might 
be hungry. Upon returning to the bedside of Raymond, still uncon¬ 
scious, Freckles decides to place the empty dishes under the bed, and 
has a knife and fork in his pocket, after eating his lunch and saving 
some for Raymond. 

It is noontime. Raymond has not returned home from lunch. 
Mrs. Pohl, his mother, becomes very worried and walks out toward the 
street looking for him in all directions. She sees Roland Morgan 
returning to school and knowing that he and Raymond have been 
[friends, Mrs. Pohl immediately inquires of Roland as to the where¬ 
abouts of Raymond. Roland hears the voice of Mrs. Pohl as she in¬ 
quires, but no answer of satisfaction is given her, and his reply is: 
‘No, ma’am, I have not seen him.” Roland continues on his way to 
school. 

Mrs. Pohl becomes very worried and cannot understand where 
[Raymond might be. She does not know what has happened to him 
'and continues to inquire of the neighbors. 

At school the afternoon class is in session. There are two vacant 
iseats. For the first time this term of school, Raymond and Paul are 
ijabsent. 

Miss Williams inquires of the class about them. Roland stands 
up and replies: “I heard them say, ‘No school for us since the seats 
iare changed’.” 

Roland then takes his seat after making that remark. Ruth looks 
^at him, and knows he is not telling the truth. Roland returns a 
guilty look toward her and turns his head, beginning to study. 

Freckles (Paul), remaining at the bedside of Raymond, is thinking 
[hard, wondering what kind of an excuse to offer for his absence from 
[school and home. Not thinking to notify Mrs. Pohl about Raymond. 







16 


“THE CHOSEN PATH ” 


At last Raymond comes to his senses. He looks to Freckles and 
explains how it all happened, saying that it was on account of Ruth 
and her party, and that Roland did not want him to come. Ray¬ 
mond then raises his head and says: “Go and tell my mother I'm here. 
Freckles.” “Sure, Ray,” is the prompt reply from Freckles, “See 
you again at supper time.” 

Freckles runs to the home of Raymond. Mrs. Pohl is grief- 
stricken upon hearing the awful news and hurries to her son at the 
hospital. 

She is informed that Raymond is not seriously hurt, but has a 
broken limb. He has been given attention and can be removed at 
any time. 

Mrs. Pohl enters the room and runs to Raymond, as any mother 
would, kissing and embracing him. Arrangements are made for the 
removal of Raymond to his home. 

At home while lying in bed Raymond's first words to his mother 
were about the newspapers, saying: “Now, I can’t sell papers, nor 
make any money and I'll be absent from school.” 

Raymond is very much disappointed and trouble is doubled at 
the thought of not being able to attend the party that evening as he 
had promised Ruth. But he is consoled by his mother in a loving way. 

That evening at Ruth’s home the invited guests are arriving, 
dressed in their best. As they enter all the youngsters eyes are at¬ 
tracted by a large birthday cake upon the dining room table, with the 
amount of candles representing her age. 

Ruth feels very important and is well pleased to see her friends. 
But one of the invited guests is absent and is missed by Ruth. She 
cannot understand what has become of Raymond and walking to 
Roland, who is present, she asks him if he has seen anything of 
Raymond. With a guilty look Roland replies: “He told me that he 
would not come to your party because he don't like you and couldn’t 
buy a present.” 

Outside the house, looking in the window, is Freckles. He was 
not invited but came to see the cake and how nicely the other kids were 
dressed, in comparison with his clothes. 

Roland looks out the window and calls to Ruth and the others. 
They all see Freckles and begin to laugh at him and shame him with 
their fingers. All pointing at poor little Freckles, he feels sorrowful 
but can’t help it because his mother is poor, and not as fortunte as 
some people. 

Freckles does not laugh. This is no joke to him, and he becomes 
angry, shaking his fist at Roland, saying: “I’ll get you Roland for 
what you did to Ray. I dare you to come outside.” 

At this remark, Roland turns around and walks away from the 
window. Ruth becomes suspicious and interested in what might have 
happened to Ray. 

She runs outside to question Freckles about it and he tells her 
how Roland had pushed Raymond in front of an automobile. Ruth 
whirls around and runs to Raymon’s home nearby. She is admitted 
at the door by Mrs. Pohl and taken to see Raymond. He is in great 
sorrow and tears. 




“THE CHOSEN PATH” 


17 


Ruth approaches him with a handkerchief and begins to dry his 
tears. Raymond apologizes for not being able to attend the party and 
hands Ruth a little gift he had for her. Pointing to his clothes, 
which are torn and muddy, he says: “I haven’t nice clothes like 
Roland and that’s my only suit, too.” 

Ruth sympathizes with him, saying: “I’ll not be angry at you, 
but I do hate Roland for hurting you and telling stories.” This 
amuses Raymond and he smiles at Ruth. She prepares to leave and 
like a flash kisses him, and runs away to her home. The expression 
on Raymond’s face is convincing that this is the beginning of a young 
love affair between these two. 


Ruth enters her home. No one knew where she had been. Roland 
steps forward to talk to her. She turns away from him with a look 
of hatred. 

The table is set. Ice cream and cake is the menu. At the end 
of the table Ruth is cutting the cake. Mrs. Brown (her mother) has 
just walked out of the room. Ruth remembers Freckles and Raymond 
and cuts two pieces of cake three times the size of the other pieces, 
then walks out to the kitchen and two heaping dishes of ice cream 
are dished by her. 

Although she had invited Freckles to come in the house, he would 
not come in on account of his clothes. So Ruth picks up both dishes, 
[also the cake, and carries it outside to Freckles, still waiting on the 
iporch. 

As Ruth approaches, Freckles stands up and the dishes are given 
to him one by one. Ruth explains: “This is for you, and this is for 
taymond. Will you take it to him?” Paul, like any other kid, is 
leased to receive the handout and replies; “You bet. Watch me go.” 
tath smiles and Paul thanks her as he walks away. 

About the best laugh to be had would be, if you were to see 
Freckles carrying both dishes, which are cold, and trying to balance 
the cake on his arms as he runs toward the home of Raymond that they 
imight have a little party of their own. This indeed is a real treat for 
both boys and it is appreciated by them very much. 

In the meantime Mrs. Brown has seen the actions of Ruth. As 
jshe enters the door, Mrs. Brown calls to Ruth, saying: “You should 
not associate with that little beggar. Roland is your guest and much 
better.” Mrs. Brown and Ruth then join the guests. Mrs. Brown has 
always favored Roland and at all times wishes for Ruth to be in his 
company. 

As time passes, all wounds are healed. Raymond is out selling 
his papers every day after school, and all day on Saturday. He and 
Roland are friends again but both boys favor Ruth very much. 

Roland does not sell papers, because his father owns a large fac¬ 
tory and is very wealthy. Probably that is the reason Mrs. Brown 
favors Roland. 

While Raymond is selling papers in front of a movie theatre he 
sees, coming from the entrance, Mrs. Brown, Ruth and Roland. 

Raymond is dressed in a new suit, the best he could afford with 
Ihis savings and proudly tips his hat to them as they pass by, speaking 
to him. 







18 


“THE CHOSEN PATH 


Raymond then decides to himself that he, too, would like to take 
Ruth and her mother to a show tomorrow, it being Sunday, and begins 
to work harder selling his papers. 

On another corner, Freckles has sold all of his papers and decides 
to see if Raymond is ready to go home. As Freckles approaches Ray¬ 
mond, looking over the new suit, he says: “Must have got it on time. 
That’s why you’re still yelping, eh, Ray?’" Raymond looks at Freckles 
and replies: “No. But I want to take Ruth and her mother to a 
show, like Roland does, and I ain’t got enough dough yet.” 

In a very friendly way Freckles replies: “I don’t blame yuh. 
Gimme some papers, I’ll help yuh.” Raymond is very pleased and 
counts off half the amount of papers and hands them to Freckles. He 
goes to another corner, the corner he calls his, and tries to sell the 
papers for Raymond. 

Freckles soon becomes discouraged as he counts over the papers, 
and not being able to find a customer who has no paper, he reaches 
into his own pocket and counts over the amount of money he has with 
him. 

A decision is soon reached as Freckles walks toward a waste 
paper box on the corner, and saying to himself: “Ell, everybody has 
papers now.” 

The lid of the waste paper box is opened by him. He looks 
around and sees that no one is watching. Quick as a flash the papers 
are thrown into the box. Freckles then puts his hands into his 
pockets and walks back toward Raymond, whistling as he goes. 

Upon meeting Raymond, Freckles hands the money to him cover¬ 
ing the supposed sale of the papers, but does not mention to Raymond 
what he had done with the papers, and it is thought that they have 
been sold. 

Raymond is very much pleased and thankful to Freckles for the 
assistance rendered. Most all of the papers Raymond had were sold, 
but there are about two or three remaining. It makes no difference. 
Raymond now has the amount of money necessary. 

Both boys start for home, walking with locked arms together, 
like regular pals would do. Freckles remains silent about what he 
had done, and decides to keep it a secret. Raymond has offered to 
return the favor to Freckles some day. It is all satisfactory to 
Freckles for he enjoys to see his best pal in a happy mood at all times * 
and realizes that when Raymond takes Ruth and her mother to a show 
it may not be liked by Roland. 

Freckles enjoys to create some kind of a conflict for Roland, and; 
would like to have an opportunity to get into it with Roland any time 

Roland has made an enemy out of Freckles and no doubt these 
two boys will always feel the same toward each other throughout life. 

Although Freckles has many friends, Raymond is his real pal 
From the actions and favors shown to each other it has been proven 
that the friendship between these two boys is very strong and un¬ 
breakable. 

It was later than usual that evening when both boys arrived al 
their homes and they were tired from the long hours of the Satur¬ 
day’s work. 




“THE CHOSEN PATH” 


19 


Freckles reaches down into his pocket and hands the balance of 
vrhat money he had to his mother as usually being accustomed to 
toing. 

His mother, Mrs. Wirt, is a widow and works at a store during 
he day for their support. She loves every freckle on her son’s face, 
;.s any mother would love and care for her child. She does not ques¬ 
tion her son at any time concerning his honesty and nothing is said 
-bout the small amount of money given to her. The amount being 
ust enough to pay the price of admittance for him to a motion picture 
how, is returned to him by his mother that he might go to a show on 
>unday as he usually does. 

Each and every tick of the clock is designative as to the passing 
f time. Every day as it is wound the clock, or watch, will bring forth 
moment of pleasure or sorrow, progress in life, or failure. 

The tick of the clock will designate seconds as a unit of time, and 
iontinue onward toward the end of a minute. Minutes will advance 
oward the hour, hours will proceed the beginning and closing of a 
ay. 

The day and night as they pass will end a month of the year, and 
ontinue. Years will bring forth other years, etc. 

We cannot avoid time, none of us; it is only natural that we 
ravel along with it. In fact we cannot get away from age. Al- 
hough the clock will continue to show us the time, if wound, the age 
f all persons will be pre-eminent, as the clock remains in its position 
nd continues to tell us the time, as the hands move around. 

Our little friends preceding in this story have now traveled along 
nd struggled with Father Time to the age of their twenties—man- 
ood and womanhood. 

A train has just arrived. A young man, with a traveling bag in 
jiis hand, steps off and is greeted by his father with much enthusiasm, 
lie is Roland Morgan, just returning from college. They hurry to a 
Yaiting automobile and the chauffeur employed by Mr. B. E. Morgan 
irives as directed. 

Roland meets his mother upon arriving at home. A welcoming 
arty is given in his honor that evening. Mrs. Morgan has only in¬ 
cited her society friends to attend. They have an enjoyable time, but 
toland would much prefer to have friends of his age present. Espe- 
ially his favorite, from school days whom he has been corresponding 
jrith during his absence while at college, Ruth Brown. 

The following day Roland is placed in an executive position at 
he factory owned by his father. This offer was to keep Roland out of 
jrouble more than anything else. Mr. B. E. Morgan (his father), 
knows from the actions of his son while at college were not to be 
Credited according to the I. O. U.’s that were paid by him in the past. 

Some fortunate persons are given an opportunity in life, while 
•thers have to work and prove themselves. 

At a drug store, working as a clerk, is Raymond Pohl, very inter¬ 
ested in his business and supporting his mother from the salary he 
j-eceives for services rendered. He works every other night, on duty. 
,rhe other nights off duty in the past have been devoted to the company 
»f Ruth. The girl he has been in love with since childhood days. 





20 


THE CHOSEN PATH” 


Ruth Brown has been well educated, is very refined, and inclined 
to be very haughty. She is a beautiful young woman but has no 
other thought than the selfish idea of just herself, and wonderful 
clothes. Her friends are selected by her and her mother, but they 
are very few. 

In childhood days there was an old friend called Freckles. His 
red hair remains, but the freckles have vanished and the nickname has 
been forgotten. He is now addressed as Paul Wirt by his friends. 
If any person calls him “Red,” they have a fight on their hands. Paul 
is now supporting his mother and has a position as a taxidriver. 

As the taxis are in line, one following the other, in front of a 
popular hotel, in the last taxi is Paul, waiting his turn to answer a 
call as directed from the starter at the hotel entrance. 

While seated in his taxi, patiently waiting and reading a news¬ 
paper, he reads the society news about the return of Roland Morgan 
from college. 

Knowing that his friend Raymond has been very attentive to Ruth 
since childhood, and being with her on most all occasions, especially 
during the time of Roland’s absence while attending college, Paul 
jumps out of the taxi, while waiting for a call near the drug store 
where Raymond is employed, and runs to him with the paper. 


Arriving at the drug store, Paul sees Raymond at work and asks 
him if he has seen the news. Raymond replies, with his usual smile, 
suspecting a joke from Paul, “What news?” Paul speaks quickly, 
with the paper in his hand: “About Roland Morgan, returning from 
college.” Then looks at Raymond in question. Raymond is not sur¬ 
prised, for he has been expecting Roland most any day. In a calm 
way Raymond replies to Paul: “I hope he finds time to come in and 
see me.” 


Paul is very surprised at the remark from Raymond and says: 
“Well, he don’t need to take time to see me.” Continuing, “I never 
did like him, he always tries to make a fool out of me. I’ll call him 
some day.” 

Raymond smiles at the remarks from Paul. Paul means what he 
says, and is almost angry at Raymond for the inviting remark made 
by him for the pleasure of meeting Roland. 

Paul whirls around, bidding Raymond goodbye. He has just left 
when the front door of the drug store opens again. Roland had not 
forgotten to say hello to Raymond, while he was out driving with Ruth, 
using one of his father’s cars. 

Roland has remembered Raymond and decided to drive over and 
see him while Ruth was with him. As they enter the door, Raymond 
sees them and walks forward to meet Roland, then shakes hands with 
him, saying: “Glad to see you. I hope you are successful in youi 
business career.” 

The pleasant greeting is accepted and returned by Roland. 

Raymond seemed to bring himself to a quick understanding, as 
Ruth and Roland departed out the door together. 

Ruth seems more delighted than any time in the past recollection 
of Raymond. Although he had been trying to do his best to entertain 
her in the past, and had taken her to dances, shows, etc., every chance 
possible that he had had a night’s recreation or time to himself. 





11 THE CHOSEN PATH 


21 


The actions of Ruth is indeed a big surprise to Raymond. He had 
iust about all the confidence in the world in her and was looking 
forward toward their future marriage. 

Very true, as it is necessary to state at this time, many women 
ire fickle minded at the age of Ruth, especially when it comes to the 
Opportunity of an automobile ride and having her friends see just how 
popular she is at the present time. 

Ruth and Roland enjoy an afternoon’s drive to themselves. While 
Raymond returns to his work and duties at the drug store, thinking of 
>ome way to have Ruth return her thoughts to him. 

Raymond realizes that he is working for a livelihood and sees 
from the actions of Ruth that she is looking for wealth and pleasure 
n life, without the thought of love and happiness to follow in the 
future. 

He also realized that happiness and true love in a home with Ruth 
is his wife did not look very encouraging in comparison to his income 
;o what Roland could offer, including an automobile for herself, a won¬ 
derful home, and all any person could wish for in life. 

Although in the past Raymond and Ruth have been very good 
friends, and his love for her has become stronger each day during the 
libsence of Roland, it appears since his return that the possible mar¬ 
riage between Ruth and Raymond has vanished. 

Ruth certainly has changed since Roland arrived, and her mother 
s stopping at nothing to encourage the marriage between them, know- 
ng that Roland is of a wealthy family and inherits his father’s estate 
!md manufacturing business. 

Mrs. Brown always has favored Roland from a financial point of 
dew, and thought him to be a gentleman in all respects. 

The childhood days have been forgotten by all but Mrs. Pohl, 
Raymond’s mother, who greets him at the door as usual upon his re- 
;urn home after the day’s work. Raymond takes his mother in his 
irms embracing her, telling of the arrival of Roland from college and 
>f being with Ruth during the day. Mrs. Pohl knows that Ruth and 
Raymond have been very good friends in the past and offers words of 
;onsolation to him. Raymond only smiles, saying: “I have you, 
nother,anyhow.” 

This is Raymond’s night off at the store and as the custom has 
peen to go to a dance or theatre with Ruth, he decides to call her on the 
bhone. Ruth answers the phone. “Hello, Raymond, really I did not 
j;hink about this being your night off duty. I am sorry, but I have 
promised Roland to go to the Palace De Dance. I’ll dance with you 
!just the same if you are there. Please do not feel disappointed.” 

Raymond is, of course, disappointed, but he replies: “I’ll be 
;here to dance with you, as usual.” 

The dance begins at eight-thirty. Raymond is there on time and 
looking for Ruth. In a corner of the dance hall several girls are 
[talking. As we all know it is only natural for some of this sex to 
(talk and gossip,—their tongues are traveling fast, trying to solve the 
[question concerning why Ruth is not with Raymond this evening. 

The question is answered by one of the girls remembering of 
having seen Ruth in the afternoon with Roland Morgan. A loud laugh 






22 


“THE CHOSEN PATH” 


follows from the crowd, which is heard by Raymond, standing nearby. 
The news spreads like wildfire. And one young lady, who has always 
favored Raymond, decides to ask if it is true. After approching and 
asking Raymond, he replies: “Yes, Esther, it is true. Probably be¬ 
cause Roland came home today. You know we three have always been 
good friends.” 

The music begins to play and in a courteous way Raymond asks 
Esther for the pleasure of the dance and she accepts. Raymond tries 
to make believe he is enjoying himself, and sees his friend Paul on the 
floor. Every time Paul goes to a dance he is seen by most everyone. 

Probably it is his red hair, or the way he dances, which is so at¬ 
tractive, anyway he is well liked by his boy friends, if not so much 
by the ladies. As the music finishes, Raymond escorts Esther to a 
chair, and Paul and his partner, Hazel Wahl, meet them and join in 
their company. 

Paul, too, has heard the news of Ruth turning her attention to 
Roland. But he does not question or remind Raymond about it. Paul 
knows from the past friendship of Raymond and Ruth how disap¬ 
pointed he must feel and trys some comedy talk to break the monotony 
of the evening and the embarrassment of the circumstances in which 
Raymond is placed. 

While Esther, Hazel, Raymond and Paul are conversing, a sug¬ 
gestion is offered by Paul that they have a little lunch after the dance. 

Esther and Hazel are much pleased at the suggestion and accept 
the invitation without hesitation, for that is their hobby—eating. 
Especially Chinese dishes, at any time. 

Paul looks at Raymond with a smile, saying: “Nice to have a few 
hungry friends. You’ll join the party won’t you Ray?” 

The answer is very unconcerned but owing to his discouragement 
and that he might not appear foolish, Raymond agrees to accompany 
the party. 

The orchestra begins playing the next dance number. Paul never 
could dance anything from the ordinary, but when he sees 
Ruth and Roland enter the dance floor his nerves begin to quiver. He 
never did like Roland and was ready to fight with him on sight, not 
that he was jealous of Ruth, but never forgetting how Roland had 
always tried to humiliate him whenever possible. 

Don’t think for a moment that Raymond did not know Ruth had 
arrived, for he was one of the first to see her and Roland as they 
entered. 

Raymond has the desire to dance with Ruth and is very anxious 
for the orchestra to stop playing. 

That dance number is finally over. Raymond is pleased, excuses) 
himself to Esther and loses no time in looking for Ruth, hoping to 
have the next dance with her. He has a hard time trying to find Ruth 
but after pushing other people out of his way, stumbling over them or 
stepping on their feet, without an offer of apology, he finally arrives 
to her. 

In a cool way Raymond speaks to Roland. It did hurt to see 
him with Ruth. Raymond then turns to Ruth with a pleasant smile 
and politely asks her for the next dance. Ruth, in a very haughty 




“THE CHOSEN PATH ” 


23 


way, replies: “I have the next dance.” She then turns her head to¬ 
ward Roland, as he looks at Raymond in disgust and ill-temper, with 
a sneakish, sarcastic grin. 

Raymond does not see the expression of Roland, neither does he 
I notice the coolness of Ruth and asks for the dance following the one 
: she has. At the second request of Raymond she then agrees to dance 
with him. 

He is delighted and thanks her, then excuses himself and retires 
to the smoking room, as the orchestra strikes upon another chord. 

Ruth and Roland again dance together. The courtship between 
she and Raymond is beginning to break quickly since Roland has ar¬ 
rived. She just cannot be too attentive to him while dancing, and 
i everyone notices it by her actions. 

Paul is enjoying himself as usual and sees Raymond watching the 
i people dance, becoming very nervous and anxious for the music to stop 
playing, as his dance will be next. 

The time has come and Raymond has his first dance with Ruth 
for this evening. Ruth is not very much interested in this dance and 
has been very cool toward Raymond while dancing. After that dance 
Raymond escorts her to a balcony to have a private conversation, see- 
! ing her sudden change of being so uninterested in him while in the 
i company of Roland. 

They arrive at the balcony and are alone at this time, which is 
[ very suitable to Raymond because he has something to ask her before 
it is too late. 

The reception room on the balcony is beautifully decorated and 
i separated from the crowd, allowing a person to be in private. 

Nobody would hesitate to choose this place for courtship, espe- 
I daily at this critical time, for Raymond. He might lose and he may 
win the return attentions of Ruth. 

After conversing for some time Raymond speaks to Ruth in a 
way hardly any girl could refuse, saying: “Ruth dear, won't you please 
i consider my love for you as one who cares and has at all times hoped 
to make a home for you and I, that we might be happy as in the past?” 

Ruth only laughs at the remark and replies: “Do not talk of mar¬ 
riage at this time. You only have a position and your mother to care 
i for and support. But we will always remain friends if you wish.” 

At her answer, Raymond feels very sorrowful. He takes Ruth 
) into his arms and caresses her, still hoping to gain her love. 

The conversation that Raymond had hoped would mean so much 
i to him was interrupted by the sudden appearance of Roland. He had 
; been hiding behind the curtains; had heard and seen all. 

Raymond releases Ruth from his arms, in surprise. Roland then 
demands an explanation of the affair in a contemptible way. 

Ruth steps forward to Roland to speak, saying: “Although we 
f have been friends in the past, (looking at Raymond), there is no idea 
I of love in my mind, none whatever for you, Raymond. You know I 
always did favor you, Roland.” Ruth then holds out her arm to be 
escorted away. 

Roland takes Ruth in his arms, caresses and kisses her in the 
presence of Raymond, then laughs at him. 




24 


“THE CHOSEN PATH ” 


Raymond hangs his head in despair, then with a rage of fury, 
owing to the insult, he runs toward them and pulls Roland away from 
Ruth, and they fight like wild beasts. 

Ruth, standing in a corner of the room, covers her face with her 
hands, knowing it was all her fault. 

The fight does not last long. Paul has seen Roland follow Ruth 
and Raymond to the balcony and Paul also has followed him, with the 
feeling that something would happen. 

During the fight Roland is knocked down into a corner and draws 
a revolver. While he is taking aim at Raymond, no time is lost by 
Paul to dash upon Roland and take the revolver away from him. 
The fight stops. 

Roland and Ruth make their exit, not wishing to be seen by any¬ 
one on account of his appearance, not being so very nice now. 

Raymond shakes hands with Paul, thanking him for the service 
of preventing the shooting and forcing Roland to drop the revolver, 
saying: “I thought sure it was my last when I saw that gun.” 

Paul replies with a smile: “I told you a long time ago not to trust 
that bird, he’s cuckoo.” 

The revolver is handed to Raymond by Paul, asking him if he 
wants it. Raymond replies, as he straightens his collar: “I have no 
use for it. You keep it as a relic.” Raymond continues to say: “Ruth 
surely has decided and there is no use of me trying to come between 
the happiness she might have. I’ll make the best of it and try to 
enjoy life just the same. 

“That’s the way to feel, Ray old boy,” replies Paul, slapping him 
on the back; “let us get the girls, Esther and Hazel, and beat it out 
of here.” 

Raymond is agreeable, Paul puts the revolver in his pocket and 
no time is lost in locating the girls. 

Paul then calls a taxicab for the evening. 

The four of them arrive at a Chinese restaurant where they had 
decided to eat, which the girls have been looking forward to all eve¬ 
ning. Paul never was very strong at table manners but to be a good 
fellow he suggests a ride out into the country after the dinner. 

It is agreeable to all and as they enter the taxi Paul winks to 
the driver, saying: “Drive us to the ‘Oasis’.” Paul being a taxi driver 
knows where to go for most any kind of pastime. 

This being an evening off for both boys, Paul follows his usual 
path and idea of an enjoyable time. Esther and Hazel are just two 
girls looking for good times and adventure, so they are agreeable and 
do not hesitate to follow. 

Raymond would much rather be in the company of Ruth, but he 
decides to try another kind of a road for pleasure and entertainment. 

Being in the company of another girl seems rather strange to 
him and it is unusual because he had been accustomed to the company 
of Ruth at all other previous times. 

All of them are congenial. Paul would have no little party of his 
any other way and is witty enough to create some kind of comedy at 
all times. 



“THE CHOSEN PATH ” 


25 


The “Oasis” is a well known resort to many persons except the 
prohibition officers, located within an hour’s drive from the city, on a 
country road. It is patronized by many people of all classes in life. 

It is desired by the owners of this place not to be discovered at 
|any time by a representative of the law, because many unlawful hap- 
jpenings would be found, occurring most every hour, either day or 
night. 

Is it not true that many persons have the desire to try to outwit 
I the law? And is it not true that some people possess the idea of an 
(entertainment in life without the thought of what might occur in the 
future? 

It is natural for some people to be of this instinct,—but does it 
pay ? Sooner or later this class of people will be found and the 
ipenalty will eventually follow. 

As the four in this party approach the “Oasis,” the lights from 
|the windows are seen. It has been a most enjoyable ride over a road 
which has been well paved. That is why the Oasis has decided upon 
[this location. 

All customers are welcomed at the door upon their arrival. 

The four arrive at the well known “Oasis,” which is the same 
kind of a place, upholding its name (A fertile spot where a drink may 
be found) excluding and defying the law in all respects. 

Although prohibition is the law at present, there is always a 
[place of this kind to be found—if looked for—somewhere. 

As the four in this party, Raymond, Paul, Esther and Hazel, are 
escorted by a waiter to a table, the order for the drinks is given. 

In the room where they are seated is a player piano (drop a nickel 
for a tune), around the sides of the room are slot machines which 
permit a little gambling for the amusement of its patrons, that they 
may drop a few nickles or quarters and take a chance on winning or 
losing. This is just a little fun. But it is very profitable for the 
house also. These machines are made for business, not to allow the 
player an opportunity to win, only occasionally, as it pays on a per¬ 
centage. The largest percentage is paid to the owners. The player 
is only the goat, who trys to buck it. 

The four, as we will address them, have been served several times 
and it is very plain to be seen by their actions, not soft drinks or 
water. 

The music played upon the player piano helps to enliven the party. 

Paul enjoys to dance and play the slot machines to its tunes. As 
the slot machines are played it is amusing to see Paul count seven to 
the right of each color before he drops his coin, sometimes winning a 
i small percentage by chance. 

Raymond, not being accustomed to the effects of drinking, becomes 
groggy. One of the girls, Hazel Wahl, calls the attention of Paul to 
Raymond, with his head in his arms, sitting at the table. She then 
suggests they go home. 

We all know that a woman at times can make a fool out of the 
best of men—Raymond seems to be a victim. 

Paul considers the experience of Raymond only as a part of life, 
then tries to cheer and scatter a little comedy by saying: “What the 




26 


“THE CHOSEN PATH ’ 


’ell, ain’t we got fun?” Raymond looks up to Paul in a pitiful con¬ 
dition. 

The quartet then start for home. The girls have their wraps on, 
standing by the door, laughing at Paul trying to help Raymond get his 
coat on and started for home. 

Outside the door the taxi is still waiting. The driver sees them 
as they approach, ready to go home. The door of the taxi is opened 
and as they enter the driver gets out to be of assistance. 

Paul tries to play the part of helping them all into the taxi but 
he needs help himself, so the taxi driver, on the job, pushes Paul into 
the taxi following the others. The driver then jumps to his seat and 
starts away with his patrons. 

After driving just a short distance Hazel reminds Paul that he 
has forgotten his coat. Paul then replies in a foolish way: “Pm warm 
anyhow. “Nesher mind, I’ll get it in the morning.” And then he 
laughs very foolishly. 

The girls are taken to their homes. Both boys bid them good¬ 
night. Raymond then arrives home. Paul tries to be of assistance, 
then gets back into the taxi and starts for his home. 

As Raymond arrives at his door he is greeted by his mother and 
seen for the first time in an intoxicated condition. His mother ques¬ 
tions him and the evenings happenings are told to her as they had 
occurred. 

The same as any mother would do, Mrs. Pohl helps her son to his 
room, then locks the door afterwards to keep him at home. She then 
sits in a chair near the door, ready to be of service if possible to her 
son until morning. The night was very long for her as she sits in the 
chair, very worried about her son. 

Morning finally arrives and Mrs. Pohl hears the call of the news¬ 
boy about the extra concerning a murder happening on that night. 

She runs to the door and purchases a paper. Upon reading it she 
is very much surprised. 

The news she reads concerns a friend known to her for many 
years. In a very excited and nervous condition Mrs. Pohl calls to 
Raymond and reads: 

EXTRA THE PRESS NEWS EXTRA 

EXTRA 

A WELL KNOWN MANUFACTURER, B. E. 

MORGAN, MURDERED IN OWN HOME 
When the butler entered the room of Mr. B. E. 

Morgan this morning the dead body was discov¬ 
ered lying in a pool of blood, on the floor. The 
police were notified immediately. The evi¬ 
dence obtained will lead to the arrest of two sus¬ 
pects by detectives before noon today. All rail¬ 
road stations are being carefully watched. 

Roland Morgan, the son, is heir to the entire 
estate, left to him by his father. Also the man¬ 
ufacturing plant. Roland just returned from 
college on the same day of the evening his father 
was murdered. Police believe the two suspects 
to be arrested at once will answer the murder 
mystery. 




THE CHOSEN PATH 


27 


Both Raymond and his mother are very surprised to read of the 
murder of Mr. B. E. Morgan, the father of Roland. Raymond rubs 
his eyes in a daze, wondering how it could have happened and by 
whom committed. 

Mrs. Pohl continues to read the details of the murder in a state 
of amazement, rocking back and forth in a very nervous condition. 

While reading the paper to Raymond the doorbell rings. Mrs. 
Pohl answers. Upon opening the door two big husky men walk in as 
if they were invited. They are both detectives, and have a warrant 
for the arrest of Raymond for implication in the murder of B. E. 
Morgan. 

Raymond is in bed and not able to get up on account of his 
thoughtless condition, due to the previous night’s experience. 

“Get up, we want you,” are the words of the detectives. Ray¬ 
mond is surprised, not knowing why they should want him, but does 
as he is told to do. 

Mrs. Pohl is frantic, as the detectives are about to leave the 
home with handcuffs on her son, accusing him of the murder. In a 
hysterical way, she stops them, saying: “My boy! my dear boy, I know 
you are innocent.” She then drops on the floor exhausted, as they pass 
out the door with her son. 

Paul has reported for work in the morning as usual, and is work¬ 
ing on the motor of a taxi previous to the beginning of another day’s 
work. 

Two detectives meet him. They shake hands with each other, 
and the handcuffs are clevery placed by the detectives upon Paul, 
saying: “You are wanted for the murder of Morgan.” 

Paul only smiles and replies: “Quit your kidding and take these 
things off; they are too tight.” 

“Nothing doing,” is the reply from the detectives; “tell it to the 
judge. Come along with us while you are all together.” 

Raymond and Paul have both been arrested and are indicted for 
the murder of B. E. Morgan, pending an early trial. 

From their cells in jail they can see and talk with one another. 
The expressions of both boys are most curious as they converse. 
Paul twists his lips, then says to Raymond: 

“Last night you said the party would be 50-50. It looks like it, 
but where are the girls?” 

The conversation is soon ended in a disappointed look. 

The prosecuting attorney has obtained all possible evidence con¬ 
necting these two boys with the murder of B. E. Morgan, Roland’s 
father, which we will hear at the court trial soon. 

A jury has been decided upon and is satisfactory to both the State 
and defense. 

Court opens in regular session. Raymond and Paul enter with 
the sheriff into the court room. As they meet their mothers they are 
kissed by them in a way never to be forgotten by spectators. 

Both boys then take seats at the table with the attorneys in their 
defense. Directly in back of them sit both mothers with anxious and 
loving faces, determining that their sons are innocent. 

The attorneys for the defense have asked that all witnesses for 
the state be excused until called upon. Their request is granted by the 
court. 



28 


“THE CHOSEN PATH ” 


In the witness room are Mrs. B. E. Morgan, her son Roland, 
Mrs. Brown and daughter Ruth conversing to themselves. In another 
part of the room is Esther Stover and Hazel Wahl, the most important 
witnesses in the case. Also John White, the butler, and Carrie Flan- 
nigan, the cook for the Morgan home. 

The prosecuting attorney is addressed by the state, because he is 
the state’s representative, and questions all witnesses first as they are 
called upon to testify in the case. 

The court is ready to hear the case of Raymond Pohl and Paul 
Wirt vs. the State, in their defense. 

The trial in court before a selected jury is the most justifiable 
law to all humanity in all respects. Regardless of the crime any 
person or persons are accused, according to the law and court they 
are upheld and proclaimed not guilty until proven so beyond a 
reasonable doubt and it has been agreed upon by a jury of twelve as 
to the guilt or innocence of the accused from the testimony presented 
in the trial. A jury of twelve must agree in all criminal cases. Minor 
cases, only nine votes will decide, or more. 

It is very true that circumstantial evidence at times will be very 
convincing to the jury when presented to them by a clever attorney, 
but the truth of the innocence of the party accused will predominate 
at most all times if the jury is attentive and studious, which is to be 
expected of them. 

In most all states the claimant and the defendant have the option 
through their attorneys to select their own jury to decide the trial 
without favor and to the satisfaction of the court. 

The prosecuting attorney calls upon the first witness to testify. 
John White, the butler of the Morgan household, steps forward to the 
witness chair, takes oath to tell the truth and nothing but the truth, 
and is seated. 

The state opens the trial. 

The jury has been addressed, pertaining to the evidence, etc., and 
is now ready to hear the testimony of the case between the State vs. 
the Defense. The judge sits at the bar, all attention to the first witness. 

Prosecuting attorney at question. 

John White at reply, testifying. 

Q. What is your name, and where do you live? 

A. John White; I live at the Morgan residence. 

Q. What do you do at the Morgan home? 

A. I am the butler. 

Q. How long have you been employed there? 

A. Ten years or more. 

Q. What are your duties to perform? 

A. Manage the household affairs, see that the meals are served, 
and perform duties at the order from the Morgans at their request. 

Q. Tell the jury exactly when you saw on the morning of the 
murder. 

A. Mr. Morgan was late for breakfast. Mrs. Morgan directed 
me to call him. I called at his room but received no reply. I opened 
his door and found him lying on the floor; walked to him, turned over 
his body and saw bloodstains on his clothing. He was dead. A revolver 
was near. I at once called Mrs. Morgan and said: “Please hurry.” 



“THE CHOSEN PATH” 


29 


Mrs. Morgan came upstairs at once and saw all that I had seen. I 
was then ordered to call the police. 

Q. Go on, tell the story. 

A. The police had arrived and directed all of us to go into the 
;living room, including the Morgans. A detective met us there. He 
looked at us with much suspicion and keen eyes, saying: “A murder 
has been committed with this revolver. The initials on it are R. M.” 
[All of us were surprised and looked at Roland, as the detective did. 
Roland then stepped forward, saying: “That revolver was taken 
from me last night by Paul Wirt and Raymond Pohl when they at¬ 
tacked me.” The detective then said, “Arrest both men at once”; and 
;the house was excused from more investigation. Roland was then 
released from arrest. 

Q. What time was it that you called Mr. Morgan? 

A. About eight A. M. 

Q. How long had he been dead, according to the coroner? 

A. About five hours. 

Q. That’s all. 

During the examination Raymond and Paul have had a very 
interesting look at each other and have smiled to their mothers and 
attorneys with satisfaction to the answers of John White. Their 
mothers, also, are contented with the proceedings. 

Their attorneys defending them are interested and talk in con¬ 
fidence at this time. 

John White is still on the stand, awaiting cross examination from 
the defense. 

Counsel for defense takes the witness, John White. 

Q. Did you hear the shot fired that killed Mr. Morgan? 

A. No. 

Q. Did you see him retire that evening? 

A. No, sir, I did not. 

Q. Don’t you work there, and is it not one of your duties to open 
the door and admit any member of the family? 

A. I do work there, and it is my duty to tend the door. 

Q. Then where were you when Mr. Morgan came home? 

A. I had retired. Mr. Morgan had a key and never requested 
me to wait up for him. 

Q. How near was Mr. Morgan’s room to yours? 

A. His room was on the second floor and mine on the third. 

Q. Did you see Roland Morgan come home? If so, what time 
that evening? 

A. I did not see him come home. 

Q. Did you hear him that night? And at what time? 

A. Yes, I heard him about twelve o’clock. 

Q. Did he carry a revolver that night? 

A. I don’t know. 

Q. Whose revolver is this I am showing you now? 

A. I believe it is Roland Morgan’s. 

Q. When did you last see it? 

A. Lying on the floor beside the body of Mr. Morgan. 

Q. That’s all. 

Next witness, the cook for the Morgans, is called. She steps up, 
takes oath, and seats herself in the witness chair. 








30 


“THE CHOSEN PATH ” 


As previous to the examination of all witnesses she answers the 
questions first from the prosecuting attorney. 

Q. What is your name? 

A. Carrie Flannigan; and it is Miss Carrie Flannigan, too. 

Q. What’s your age? 

A. My age is—well, I don’t tink it is for anyone to ask, but if 
yuh must know, to be sure I tink yust 35 year. I may be older, to be 
sure, but let’s y’ust suppose. 

Q. And what is your business? 

A. That’s none of your business. You y’ust mind your own. I 
had to come here to tell what I knew about this ’ere murder of Mir. 
Morgan and ’at’s all. To be sure, o’im not ’ere to laugh at. 

Q. Where do you work, Miss Flannigan? 

A. O’i don’t woik; O’im the cook at the Moigans’ ’ouse. 

Q. You have always been on friendly terms with the Morgans, 
haven’t you? 

A. O’i sure have, and a long time, sir. 

Q. What do you know about the death of Mr. Morgan? 

A. He was killed by someone, and it was too bad, sir; he was a 
no’ice man, too. 

Q. Who was the someone, Miss Flannigan? 

A. O’i don’t know, sir, to be sure. 

Q. That’s all. 

Counsel for defense takes the witness. 

Q. Your name is Miss Carrie Flannigan? 

A. To be sure it is, and proud of it, too. 

Q. You have charge of the kitchen and the cooking, too, have 
you not, Miss Flannigan? 

A. Yes, sir; and a good cook, too, to be sure. 

Q. How long have you been the cook? 

A. About fifteen years. 

Q. What was your age when you first started to take charge of 
Mrs. Morgan’s kitchen? 

A. (After she thought and counted back on her fingers): O’i 
suppose about twenty years; O’im not sure. 

Q. How long have you known the butler ? 

A. About ten years, sir. 

Q. Do you know these boys (Raymond and Paul) seated here? 
A. Yes, sir. 

Q. What do you know about them ? 

A. O’i know they were always good friends, but Roland never 
cared much for either of them. 

Q. That’s all. 

Next Witness, Mrs. Morgan, takes the stand. 

Q. Mrs. Morgan, your husband is the deceased, is he not? 

A. Yes, sir. 

Q. His business was in good standing financially ? 

A. Yes. 

Q. Do you know of any enemies he might have had? 

A. No, I do not. 

Q. Raymond Pohl and Paul Wirt both knew Mr. Morgan, didn’t 
they? 

A. Yes, sir. 



"THE CHOSEN PATH ’ 


31 


Q. Mr. Morgan had known them, too? 

A. Yes, sir. 

Q. Were they ever enemies? 

A. I don’t know. 

Q. That’s all. 

Counsel for defense takes the witness. 

Q. Mrs. Morgan, did you occupy the same room as Mr. Morgan? 
if not, where was your retiring room? 

A. I did not occupy the same room, but my boudoir was adjoin- 
ng with a door between. 

Q. Did you hear the report of a revolver the night of the 
murder ? 

A. I did not. 

Q. Do you know at what time your son Roland arrived home 
;hat night? 

A. No, I don’t believe I do. 

Q. What time did you retire that evening? 

A. About 9:30 P. M. 

Q. You have seen this revolver before, have you not? 

A. Yes, sir. 

Q. To whom did it belong? 

A. It was at one time Roland’s that he had in the army. 

Q. That’s all. 

Roland Morgan is the next witness called by the state. 

Q. How long have you known the two defendants, Raymond 
Pohl and Paul Wirt? 

A. Since school days. About 12 years, I guess. 

Q. Did you ever carry a revolver? 

A. On occasions only. 

Q. What occasions? 

A. At nights if I were out driving, on account of so many rob- 
eries, for my self-protection. 

Q. The revolver was only carried for self-protection ? 

A. Yes, sir. 

Q. Tell the jury how your revolver happens to be the one used 
in this case. 

A. I had been out driving and called for Miss Brown. We at¬ 
tended a dance and were assaulted by Raymond Pohl and Paul Wirt. 
It was necessary to draw my revolver on account of the attack upon 
me. I was overpowered by them and they took the revolver. 

Q. You have never fired this revolver or had an occasion to do 
bo, have you? 


A. No, sir. 

Q. That is the same story you told the police ? 

A. Yes, sir. 

Q. That’s all. 

Counsel for defense takes the witness. 

Q. Have you always been good friends with Raymond Pohl ? 
A. Yes, until the assault by him. 

Q. Have you been good friends with Paul Wirt, too? 

A. No; Paul never cared about me. 

Q. Did you ever like or care for Paul ? 

A. I can’t say that I did. 












32 


“THE CHOSEN PATH” 


Q. What, if anything, do you hold as a grudge against these twc 
boys, in defense of their lives? 

A. Nothing, only to avenge my father’s death. 

Q. That’s all. 

Miss Ruth Brown, the next witness, is called. 

Q. How long have you known Roland Morgan ? 

A. About twelve years. 

Q. Has he ever committed a crime at any time? 

A. Not that I know of. 

Q. How long have you known the defendants? What do you 
know against them? 

A. About twelve years. I don’t believe I do, outside of this case, 
know anything against them. 

Q. Did you see them the night of the murder, and where ? 

A. Yes, at the dance. 

Q. Did you see Paul Wirt take this revolver from Roland? 

A. I did. 

Q. Did you see them any time after the dance ? 

A. I did not. 

Q. That’s all. 

Counsel for defense takes the witness. 

Q. Your name is Miss Ruth Brown? 

A. Yes, sir. 

Q. Miss Brown, you at one time were the sweetheart of Raymond 
Pohl, were you not? 

A. Yes; I was a friend. 

Q. Roland Morgan is now your suitor, is he not? 

A. Yes, he is. 

Q. You invited Raymond Pohl to attend the dance the evening 
you were accompanied by Roland Morgan, didn’t you ? 

A. Yes. 

Q. You remember in school days the time you had invited both 
Raymond and Roland to your birthday party, don’t you? 

A. Yes, I do. 

Q. Roland pushed Raymond in front of an automobile, causing 
Raymond to be sent to a hospital, and he could not come to your party, 
could he? Is it not true? 

A. Why—a—yes, it is true. 

Q. Then you do not mean to say that Roland has never com¬ 
mitted a wrong crime, do you ? 

Interrupting, the prosecuting attorney replies: “I object, your 
Honor, that has nothing to do with this case.” 

The judge replies: “Objection sustained at this time. Ask the 
next question.” 

Q. Raymond was always a gentleman to you, was he not? 

A. Yes, sir. 

Q. That’s all. 

Next witness, Miss Esther Stover, is called. 

Q. You accompanied Raymond and Paul after the dance, or at a 
time the evening of this murder, did you not? 

A. Yes, sir. 

Q. You knew that both boys were drinking intoxicants? 

A. Yes. 




“THE CHOSEN PATH ” 


33 


Q. And they became intoxicated? 

A. Yes, sir. 

Q. At what time did you get home that evening? 

A. About 1:30 A. M., I guess. 

Q. That’s all. 

Counsel for defense takes the witness. 

Q. At what time did you and the party leave this place ? 

A. About 1:00 A. M., I guess. 

Q. Was anything said about the quarrel with Roland that eve¬ 
ning in your presence? If so, what? 

A. Nothing was said. I did not even know about it. 

Q. Did you all wear coats that evening? 

A. Yes, sir. 

Q. Did Paul Wirt wear his home that night with you ? 

A. No, sir. 

Q. That’s all. 

Next witness, Miss Hazel Wahl, takes the stand. 

Q. You were also in company of this after-dance party? 

A. Yes, sir. 

Q. What time did you get home ? 

A. About 1:30 A. M. 

Q. How did you get home? 

A. The boys took us home in a taxi cab. 

Q. You all had coats and wore them? 

A. Yes, all but Paul, I guess. 

Q. That’s all. 

Counsel for defense takes the witness. 

Q. Was there anything mentioned about a revolver that night? 
A. No, sir. 

Q. You were treated with respect, were you not? 

A. Yes, sir. 

Q. At all times ? 

A. Yes, sir. 

Q. Raymond and Paul were both in the taxi after you were taken 
lome, were they not? 

A. Yes, sir. 

Q. That’s all. 

Next witness, Mrs. Pohl, takes the stand. 

Q. You are the mother of Raymond, sitting there? 

A. Yes, sir. 

Q. You saw him come home that evening, did you? 

A. Yes, sir. 

Q. And he was intoxicated, too ? 

A. Just a little, I guess. 

Q. At what time did he get home? 

A. About 2:00 A. M. 

Q. That’s all. 

Counsel for defense takes the witness. 

Q. Mrs. Pohl, after your son came home that evening, did he 
eave the house again? 

A. No, sir. 

Q. You are positive? 

A. Yes, sir. 






34 


“THE CHOSEN PATH” 


Q. Tell the court and jury why you are positive. 

A. I met my boy at the door. After admitting him, I locked the 
door and took out the key, helped him to his room, and locked him in 
there, too. During all hours of the night I had been watching over 
him to help if I could. 

Q. That’s all. 

Next witness, Mrs. Wirt, is called to the stand. 

Q. You are Paul’s mother, are you? 

A. Yes, I am. 

Q. What time did he get home that evening? 

A. I don’t know. 

Q. Did you hear him come in? 

A. No, sir. 

Q. When did you first see Paul after he had left the house on the 
previous night? 

A. The next morning, sir. 

Q. How did he act? 

A. Same as usual, sir. 

Q. Did he tell you where he was the night before ? 

A. No, sir; I never ask him. 

Q. That’s all. 

Counsel for defense takes the witness. 

Q. Mrs. Wirt, your son has always supported you, has he not? ; 
A. Yes, sir, since a newsboy. 

Q. He never was a bad boy, was he ? 

A. No, sir. 

Q. Have you ever seen him intoxicated? 

A. Not that I know of. 

Q. He works every day, doesn’t he? 

A. Yes, sir. 

Q. Did he ever mention about a fight to you ? 

A. No, sir. 

Q. That’s all. 

Next witness, Raymond Pohl, takes the stand. 

Q. Your name is Raymond Pohl, and you are the defendant in 
this case, are you not? 

A. Yes, sir. 

Q. You have been accused of participation in this murder at a 
time you were intoxicated, have you not? 

A. Yes, sir. 

Q. You admit you are guilty? 

A. No, sir; I am not guilty. 

Q. Then tell the jury why you are here as the defendant. 

A. I am here as the victim of circumstantial evidence, as far as 
I know, because the law thinks I’m guilty. 

Q. What time did you see Paul Wirt last the night of the 
murder ? 

A. 1 think about 2:00 A. M. 

Q. What time did you arrive at your home that night ? 

A. About 2:00 A. M. 

Q. Did you leave the house after you arrived, and what time? 
A. I did not leave at any time after I came home. 




“THE CHOSEN PATH ” 


35 


- 

Q. Then where did Paul go after you two had parted ? 

A. He said he was going home. 

Q. You knew that Paul had the revolver taken from Roland 
Morgan that evening, didn’t you ? 

A. Yes, but not all the time for he had forgotten it. 

Q. You were intoxicated, weren’t you? 

A. Yes, I was, a little. 

Q. That’s all. 

Counsel for defense takes the defendant. 

Q. You have never been accused of any crime before, have you? 
A. No, never. 

Q. You have been employed at a drug store, have you not? 

A. Yes, sir. 

Q. You were never accused of theft, either? 

A. No, sir. 

Q. It is true that you and Roland Morgan had a fight ? 

A. Yes, sir. 

Q. And he had drawn a revolver against you at that time ? 

A. Yes, sir. 

Q. Paul Wirt then relieved Roland of the gun? 

A. Yes, sir. 

: Q. And saved you from being shot by Roland? 

A. Yes, sir. 

Q. That’s all. 

Next witness takes the stand. Paul Wirt is called. 

Q. Your name is Paul Wirt, you are a taxi driver and held for 
ihe murder of B. E. Morgan, are you not? 

A. Yes, sir. 

Q. When did you last see Roland Morgan, the son? 

A. At the dance. 

Q. When did you last see his father ? 

A. It was a long time before he was murdered. 

Q. How long? 

A. About two or three months. 

Q. What time did you get home the night of the murder ? 

A. I got home about between 2:00 and 2:30 A. M. 

Q. Did you leave the house again that evening? 

A. No, sir. 

Q. This button is off your coat, is it not? 

A. Yes; it looks like one, but I don’t know. 

Q. Where is your coat now? 

A. I don’t know. 

Q. You had a revolver that was taken away from Roland Mor¬ 
gan, didn’t you? 

A. Yes, I did. 

Q. His initials were on it, too ? 

A. I don’t know. 

Q. That’s all. 

Counsel for defense takes the defendant. 

Q. You reported for work the next morning, did you not? 

A. Yes, sir. 

Q. You thought the detectives were joking, didn’t you? 

A. Yes, sir. 









36 


“THE CHOSEN PATH” 


Q. Isn’t it true that Roland Morgan never liked you? 

A.. "Yes sir. 

Q.* He has at times tried to make trouble for you, hasn’t he ? 

A. Yes. 

Q. You have never carried a gun to defend yourself, have you? 

A. No, sir. 

Q. You have never shot to kill anyone either, have you? 

A. No, sir. 

Q. You have never committed a crime, have you? 

A. No, sir. 

Q. And you are not guilty of this crime, are you ? 

A. No, sir, I’m not. 

Q. You have always been happy and contented in life till now? 

A. Yes, sir. 

Q. That’s all, Paul 

The court may take the witness. 

THE JUDGE SPEAKS 

Turning the case to the state and jury. 

The prosecuting attorney for the state will now address, and 
present the case, to the jury for the decision. 

Ladies and Gentlemen of the Jury: 

This case means nothing to me in particular, but the State must 
have a decision of this outrageous crime and it will be answered. 

You have heard the testimony of each and every witness, includ¬ 
ing the testimony of the accused, seated before you. 

We all know that it is only natural for a mother to defend her 
child at any cost, the same as these two boys have been defended. This 
case looks to me very different than others have. It appears from the 
evidence you have just heard that it was not Mr. B. E. Morgan who 
was to be the victim of these two boys, but it was his son Roland they 
wanted to get and put out of the way. The mistake was made in the 
shooting thereof. It must have been their thoughts, owing to the 
intoxicated condition, to which has been testified as true. They were 
drunk, could not see straight, and did not think they could be caught. 
They had Roland Morgan’s revolver, and no one but Roland, Ruth 
Brown and these two, Paul and Raymond, knew it. If everything had 
gone the way it was planned, then this would not be in court for your 
decision. 

But it would have been known as the suicide of Roland Morgan 
with his own revolver. 

You know and have heard the testimony concerning Miss Brown 
as being the sweetheart at one time of both Roland Morgan and Ray¬ 
mond Pohl, as far back as their school days. 

You can see very well that there was jealousy which prompted 
this outrageous murder of an uninterested and innocent victim. 

The state will now rest the case to the jury. 

ATTORNEY FOR DEFENSE: 

Ladies and Gentlemen of the Jury: 

We have confidence in you and know as business people of intelli¬ 
gence you have considered the evidence in this case as most insuffer¬ 
able and intact. As the prosecuting attorney says, this is a most 





“THE CHOSEN PATH ’ 


37 


outrageous crime and must be answered for by some one. It is all 
very true. But we say, and you’ll agree, it is not to be answered by 
an innocent person or persons. Many an innocent person is accused 
by the circumstantial evidence surrounding the case, as is the oc- 
[ currence here. 

It truly and honestly looks like a frame-up to put these two boys 
in prison and have them innocently pay the penalty of crime. If it 
i was a case of jealousy that prompted this murder it looks to me like 
j someone is going to be the winner of the girl in question. 

We admit there was a fight that night, and if it were not for the 
interference of Paul Wirt, who so bravely relieved Roland Morgan of 
his revolver, and put a stop to the fight, in the place of these boys 
being in the defense it would be Roland Morgan himself accused of a 
double murder. Stop, and let us think together. There must have 
been some intention of Roland Morgan to carry this revolver. Did he 
carry it for protection or to commit a crime? 

You know what a revolver is carried for and why it is used. 

We have no recourse or chance to contest this evidence to you 
: again after I finish this stand. So in conclusion we want to ask all of 
j you a question before the decision which you are about to make is 
i answered. 

At this roadhouse where Paul Wirt had forgotten his coat which 
! contained the revolver—Roland’s revolver—doesn’t it appear to you 
j that someone else could have taken this coat and revolver? No one 
| knows but the guilty one of this crime and he or she is at freedom. 

Look closely, my friends, and studiously, at Raymond, his mother, 
j Paul, and his mother. Don’t they look to you as good, God-loving and 
i clean , honest people? They are . 

This crime was not committed by either of these two boys, and I 
trust, we all trust, to you, ladies and gentlemen of the jury, that you 
; will not send these innocent victims of circumstances away to prison 
t for a crime they are innocent of. We want justice and believe in 
\ justice; we are entitled to justice for acquittal. Thank you all. 

PROSECUTING ATTORNEY AT CONQUEST 

Ladies and Gentlemen of the Jury: 

The evidence presented to you in this case should be your decision 
as to guilt or innocence and not a sympathetic plea for freedom—we 
! all want freedom. 

When a person or persons are guilty they should pay the penalty. 
: And for the protection of all honest and law-abiding citizens, for 
yours and others, there is a prison. And a law to sentence all who 
commit a crime. 

In this case I do not feel that it is necessary, as prosecuting 
attorney, in any way to say any further statements concerning this 
crime. You are people of intelligence and know the facts of this case. 

In fairness to the state I ask your decision for the state and pro¬ 
tection of all. I now rest the case in your hands for consideration and 
decision. 

The Court will charge you before retiring. 

Thank you. 





38 


“THE CHOSEN PATH” 


The judge then charges the jury, telling them of the sentences to 
be given provided they are guilty, and if found not guilty they will be 
acquitted at once. In this case you may find one or the other guilty 
as charged in the indictment. The other, if innocent, may be acquitted 
as charged and given his freedom. You are the ones to decide in all 
fairness to the state and to the defense. You will be given ballots. 
The foreman elected will seal the verdict or verdicts and hand to me. 
In this criminal case it is necessary that all of you agree. 

You may now retire to the anteroom, with careful consideration 
for a just decision. You may retire. 

The jury, consisting of nine men and three women, arise slowly 
from their seats and adjourn to the anteroom in private for the de¬ 
cision of the lives and future of the two boys. The testimony pre¬ 
sented in the case has not been at all in their favor, and it is now in 
the hands of the jury to decide the guilt or innocence of the participa¬ 
tion in this crime. 

Raymond and Paul are very nervous, but try to remain calm. 
Their mothers are in deep thought and prayer for the freedom of 
their sons. 

The attorneys in their defense talk in confidence with each other. 

Roland seems as excited as both Raymond and Paul. He is seated 
with his mother, Ruth, and her mother, Mrs. Brown. 

Esther and Hazel are seated by themselves, hoping that both boys 
will be acquitted of the charges against them. 

John White, the butler, and Carrie Flannigan, the cook, are seated 
in a corner, waiting for the verdict, without a word to say to each 
other. 

The spectators who have had the opportunity to attend this trial 
are also waiting the verdict. The courtroom is very quiet. The clock 
on the wall is heard for the first time since the beginning of the trial. 

Occasionally there is the sound of a pencil tapping upon tin, but 
it is discovered to be the expectoration of an elderly man, about sixty- 
five years old, who has been very attentive during the trial, chewing 
his tobacco. 

The sudden knock on a door is heard. The bailiff opens the door 
and the jury, after having a long consultation, return to their seats. 
The verdict is handed to the judge. Everyone is very anxious to 
hear it. 

The jury remain seated and the courtroom is very quiet while the 
judge reads the verdict: 

Raymond Pohl is acquitted, but Paul Wirt is found guilty of the 
circumstantial evidence presented against him. 

Another trial is demanded by the attorneys for defense. They 
shake hands with the boys and it is agreeable to carry the case to 
the Court of Appeals. 

^ j Raymond shakes hands with Paul in sympathy and promises to 
find the real murderer and a confession. Both mothers embrace their 
sons. With big tears in the eyes of Mrs. Wirt, she says: “My boy 
you are not guilty, are you?” “No, mother, Pm not,” is Paul’s reply. 

Then God will protect you,” replies his mother, with big tears rolling 
down her cheeks. 

It is indeed very pitiful to see their expressions. 



“THE CHOSEN PATH” 


This trial was not to be forgotten. There is joy for some and 
much sorrow for others. The sheriff steps to Paul and places 'the 
handcuffs upon him. His mother walks away with Raymond and his 
imother. 


All others have slowly walked away, conversing. 

Early next morning Raymond has reported for work at the drug¬ 
store and is told by his former employer that it was necessary to 
employ someone else in the position he had formerly held. Raymond 
then decides to apply at other stores, but he is not wanted by them 
[either. Wandering around from place to place he decides to apply at 
ja taxi company, knowing how to drive an auto. 

He is employed and shown the car to drive. Raymond is very 
much pleased to be employed in this position, for it is a change from 
the other work he has been following, and interesting to him. 

While working upon the motor of the taxi a call is given him at 
345 Lincoln Avenue. He jumps into the car and starts. 

The call is answered. Mrs. Brown and daughter Ruth walk to 
the taxi and get in without seeing Raymond at the wheel. They are 
going shopping and are conversing about the new clothes for Ruth, 
which consists of a wedding trosseau. The conversation has been over¬ 
heard by Raymond, but nothing is said and he is not recognized, as he 
turns his head away when the taxi fare is paid upon arrival at the 
store entrance. 


Raymond now understands that Ruth is going to be married and 
(no doubt to Roland. At this time he feels that Ruth was never to be 
his wife, not knowing the influence her mother has had over all deci¬ 
sions. Raymond drives away, returning to his station to await the 
next call. 


Mrs. Brown and Ruth enter the store to purchase the new ward¬ 
robe, feeling very important, as usual, looking forward to the wealth 
her daughter is about to marry. 

You have no doubt seen how a sales person in a department store 
tries hard to please the customer. Well, Mrs. Brown is a hard one to 
handle, although she is not going to wear the new clothes herself. 
The wedding dress is decided upon. 

Roland has arrived, and they leave together. He is going to buy 
a new automobile that Ruth can use with her mother. It is purchased 
and taken for use at once. 


After anxiously waiting, the days pass. 

The elaborate setting for the big wedding is staged. Flowers of 
[all kinds are arranged at the church. The wedding takes place on 
Monday morning, a most beautiful affair. Roland and Ruth are now 
married and pass out the church aisle to their waiting car. A canvas 
canopy had been placed to the street. Many friends and relatives have 
witnessed the ceremony. Arriving home, all preparations have been 
made for the honeymoon, and a hurried exit is made to avoid the rice 
shower. 


At the station, as their car stops, Ruth glances to her right and 
sees Raymond sitting in a taxi cab. He is very downhearted but 
hardened by his past experiences. She speaks to him and in turn he 
tips his hat to her. 





40 


11 THE CHOSEN PATH” 


Ruth and Roland enter the train and are off. 

That evening Raymond answers a call to the “Oasis,” (where he 
and Paul were the night of the murder), which is still unsolved, and 
Paul in jail. 

Raymond at all times has been seeking information to free his 
friend. Arriving at the “Oasis” he announces: “Taxi for Mr. Wolfe.” 
He is told by the door man to go upstairs. 

Calling again, upstairs, “Taxi for Mr. Wolfe,” but there is no 
reply. Many men are gambling for large sums. This is a regular 
gambling den, upstairs. Curious as anyone would be, Raymond walks 
around the crowd at one of the tables and overhears a man say, “That 
is a lucky corner for winning. Morgan stood there the night he broke 
Ben Wolfe and was murdered by the taxi driver.” All eyes turn to 
Raymond but he shows no emotion of excitement and calls out, “Taxi 
for Ben Wolfe.” At a table, intoxicated, a man raising his head re¬ 
plies, “Here, taxi. Here I am. Take me home.” Raymond loses no 
time to get to him, for he is very interested of course for the purpose 
of gaining information wanted. 

Arriving home with Ben Wolfe it is necessary for Raymond to 
help the patron to his room. 

“Get my bathrobe, driver, in the clothes press,” directs Ben. As 
Raymond opens it to be of service he also sees the coat that Paul had 
worn the night of the murder, with the button off. Grabbing the bath 
robe and the coat he throws the bathrobe over Ben’s face, and like a 
flash runs out the door with the coat under his arm to inform the 
police. 

The police arrive with their prisoner, Ben Wolfe, and have him 
placed in the sweatbox. After sufficient grilling, Raymond is called 
in to hear— 

THE CONFESSION 

On the night of the murder, Mr. Morgan and myself (Ben Wolfe) 
were gambling in large sums. I had lost everything to him, and had 
been drinking very much. Morgan was still playing and winning from 
others. I was broke and went downstairs to go home. A coat was 
hanging over a chair. No one was present. I took the coat by mis¬ 
take—it was my size—and put it on, placed my hands in the pockets 
and found the revolver. 

The initials were R. M. I paid no attention to them at this time. 
Walking outside, I made up my mind to lay for old man Morgan, hold 
him up, and recover the money, my money, lost to him. While waiting 
outside everyone else seemed to come out but Morgan. There was a 
touring car nearby that I was hiding behind with a handkerchief over 
my face. Finally he came out. I approached him, saying: “Hands 
up! Be quick!” He was quick, to fight, and I did not want to shoot 
him, but as he had knocked me to the ground and was rushing for me 
I fired. He was struck and fell. But he was not dead, so placing him 
in the back of the machine, and after getting it started, I drove 
like wild. 

Stopped at one time, got him some water to keep him alive, and 
in his pockets were the keys to his home with the money. That was 
taken by me. 



“THE CHOSEN PATH ” 


41 


Arriving in front of his home, about three o’clock in the morning, 
I carried him to the door, opened it and put the keys back in his 
pockets; also the revolver. 

Morgan was weak but was able to crawl in the house. I entered 
with him and he started toward his room. He wanted to talk but no, 
he could not. Grabbing at me, the button was torn from the coat, this 
coat, and clinched it in his hand. I was frightened that someone 
might hear, and ran from the house to the car and left it a few 
[blocks away, then went home. 

Next morning I read of the murder. “It must have been the 
i owner of this coat that was accused.” I did not think anything could 
[be done with him, and was fearful of myself if caught. 

My conscience has been bothering me so much that I feel insane, 
libut now am relieved of the burden. I am guilty. It was I. 

Ben Wolfe signs the confession, is handcuffed, and taken to a cell. 

Raymond has heard it all and at once asks for the release of Paul 
Wirt. He is released and the two pals meet in the room. A wonder¬ 
ful meeting it is. They embrace each other and feel very joyful. 

; Raymond pulls out a package and says, “Have a smoke, old pal, and 
get out of here. Your mother wants to see you.” 

Paul then replies: “Yes, hurry out of here before they think this 
is a mistake and put me back into the cell.” 

Both boys rush out the door of the police station and start on their 
way to Paul’s home in the taxi that Raymond has been using most all 
!| evening without taking time to report for duty. 

Paul is now free and very anxious to see his mother; also thank- 
j'ful to Raymond. As they are driving, Paul says: “Stop at this place 
on the corner. I’ll buy a drink.” Raymond looks at Paul in surprise, 
replying, “Nothing doing. We just had one chance on our lives in the 
;jprison chair.” After thinking seriously, Paul replies, “Sure did, Ray, 
d-if I take another chance with poison again.” 

Arriving in front of Paul’s home he is very quiet as he enters, 
j tip-toeing to his mother seated in a chair reading and placing his 
hands over her eyes, trying to have her guess who it is. 

It is no trouble for Mrs. Wirt to detect who it is, feeling the 
[presence of Paul, the same as most any mother could if he were 
j their son. 

Indeed this was a big surprise for Mrs. Wirt, also Paul, and the 
happy meeting between them was most wonderful. With emotional 
I caresses and plenty of kisses, until the tears of joy roll down the 
I cheeks of Mrs. Wirt, she says: “I always knew my boy was innocent 
ji and God would return you to me.” 

Without a thought of how it might sound, Paul replies: “Yes, 
I mother dear, just arrived with Ray, the clever devil, sure helped me.” 

Mrs. Wirt begins at once to prepare another home cooked meal, 
which Paul has not had for some time, and he surely enjoys mother’s 
| cooking. 

As time and years pass by, most all of us advance in life and 
changes are made. Some are successful—some unfortunate. 

Although four years is just a small measure of time in life, many 
I experiences can occur. 





42 


“THE CHOSEN PATH ” 


Seated in the living room of their home are Roland and Ruth. 
While reading it is plain to be seen that Roland is only interested in 
his book and not his wife, Ruth. 

In the kitchen of the same home is Carrie Flannigan, the cook, 
faithful to her duties as ever. 

Mrs. B. E. Morgan (Roland’s mother) is inquiring of Carrie about 
little Junior and the reply is: “No, mam, to be sure, I’ve not seen him.” 

In the pantry an awful noise is heard. Running to the pantry 
they see Roland, Jr., hanging to a shelf. The chair had slipped from 
him while reaching to a top shelf for the cake. 

Carrie helps Junior down, then begins to sweep up the floor, cov¬ 
ered with broken dishes; also the cake. 

Mrs. Morgan, Junior’s grandmother, then shakes him roughly and 
tells him to stay out of the kitchen, sending him to his mother. 

Roland, Jr., is a cute little fellow, just three years old, and full of 
tricks that no other youngsters could ever think of. 

Junior runs into the living room, first to his father, and is told 
by him to go to his mother, which he does, and climbs into her arms. 
His mother (Ruth) caresses him with love. Roland is not as inter¬ 
ested in his son as most fathers would be and very little attention is 
shown little Junior by him. 

Paul Wirt is now in the taxi business for himself, having a used 
auto to offer for services to the public. 

Standing in front of a hotel is Paul and his taxi, waiting for 
business. Although his taxi is an old car and has seen its best days, 
Paul is very much interested in the appearance of it and does his best 
to make it shine like other cars. 

So that everybody might know he has a taxi, Paul has big signs 
on the front, back and both sides—For Hire. 

A customer approaches and chooses Paul’s taxi in a hurry. Paul 
jumps to the wheel but the motor won’t start. The customer becomes 
very impatient, being in a hurry to catch a train, and steps out of 
Paul’s taxi, angrily taking the one in front. Paul watches the other 
taxi go with the customer he just had. This is tough luck for Paul 
and he jumps out to work on the motor instead of trying to make it 
shine. 

We will have to admire Paul for the ambition to have a business 
of his own. But he, no doubt, was inspired to do so by the action 
which Raymond has taken. He now owns one of the best drug stores 
in the city. 

At Raymond’s Drug Store, of which he is very proud, Esther 
Stover and Hazel Wahl are employed by him. 

Raymond never has been conceited and favors all of his friends 
at the opportunity. He also has a new home, which was always de¬ 
sired for the comfort of his mother, and she is very proud of it, work¬ 
ing at all times to keep it very neat and clean. 

Mrs. Wirt (Paul’s mother) has her same home but enjoys to call 
upon Mrs. Pohl and pass the afternoon sitting in their comfortable 
chairs. 

Mrs. Pohl answers the door and greets her friend, Mrs. Wirt, 
making her daily call as usual. 



“THE CHOSEN PATH” 43 


A fire alarm has been turned in and the departments are answer- 
ng the call, driving fast as they usually do. 

Paul finally succeeded in making a call and is returning to his taxi 
stand in a hurry, that no business is lost. 

At a corner where it is impossible to see the approach of other 
f/ehicles on the right or left, the brakes are failing to work and will not 
;ake hold. Paul is a careful driver but his auto won’t stop and 
poasts directly in the path of the fire truck. It is hit and completely 
Inirned over, after being knocked about twenty feet. 

Paul is assisted from the wreckage by spectators. An ambulance 
s called and arrives to the rescue of Paul. He is taken to his home, 
pot seriously injured but unconscious. 

The fire department has a network of hose laid on the street in 
front of Paul’s home as the ambulance arrives. It is the home of Paul 
,;hat is burning. 

The fire has had such a good start during the absence of Mrs. 
Wirt that hardly anything could be saved. 

Upon her arrival she is frantic at the sight of her home burning, 
!md the appearance of the ambulance adds to her excitement. 

She is told that her son had been injured and is in the ambulance. 
Mrs. Wirt has just about all the trouble she can endure and runs to 
the driver of the ambulance, directing him to drive to the home of 
Mrs. Pohl. 

Mrs. Pohl is about the only friend who can be relied upon by Mrs. 
SfWirt, now that her home is ruined by fire. 

Upon arrival they are welcomed and Paul is taken to a spare 
[iroom. Not being seriously injured it was not necessary for him to be 
litaken to a hospital. 

Raymond arrives home and is told by his mother what had hap¬ 
pened to add to the misfortune of their best friends. He runs to the 
room and sees Paul sitting up in bed with a smile on his face as big 
[as the pillows. 

Mrs. Wirt speaks to Raymond, thanking him for the hospitality, 
[and leaves the room. Raymond replies: “I am thankful to have a 
home to offer you and your mother. We have plenty of room here, so 
i|you and your mother can move in.” 

With a smile on his face, Paul sits up in bed, replying: “We have 
nothing to move; here we are.” The smile on his face is changed to 
disappointment and he says: “Ray, I sure bought a lemon of an auto. 
Si’ll bet there is nothing of it now but the skin and that was ready 
to peel.” 

Raymond laughs at Paul, as he continues to say: “The juice was 
sour, anyhow.” Paul decides to get out of bed, as he says: “I was 
just put to sleep, that’s all; but I had some dream.” 

Raymond inquires about the dream and Paul replies: “I had 
about six taxis and guys working for me. Gee, things were fine, until 
I woke up. Now I’ll have to get another job.” 

After thinking a short time Raymond replies: “I’ll see that your 
dream comes true, old pal, and secure a loan large enough for you to 
start in business.” Paul looks at Raymond as they shake hands in all 
seriousness, wondering if he is still dreaming. Raymond is in a hurry 
to get back to his store and leaves the room. 





44 


“THE CHOSEN PATH ” 


While Paul is alone he looks into the mirror, hits his head, pinche 
his arms, nose and cheeks, then decides he is awake and alive. 

In the street an awful noise is heard. Paul runs to the windo\ 
and sees his old taxi being towed by a wrecking truck toward a jun] 
yard. 

He laughs, then throws a kiss, saying to himself: “Good-bye, yoi 
old seeds of a lemon.” 

Turning to the dresser he arranges all in one line, like a parade— 
a brush, comb, ash-tray, fountain pen, book and pin cushion. In jus 
a foolish way he is pretending them to be his new taxis. 

The time is not long and the supposition has materialized to i 
realization for Paul. 

In front of a large hotel is Paul, managing his taxi business, an< 
to see him show authority with such a serious expression over th< 
other drivers in his employ is very funny. Especially when he seei 
some of his friends coming toward him. Then he laughs to the boy; 
as they pass by, in a kidding way. 

Esther and Hazel, employed by Raymond, are two of his bes 
friends, especially Hazel. He would like her to be his wife if onli 
an opportunity were given him. 

A call comes for a taxi. Paul turns the affairs over to one of thi 
other men employed as his assistant and answers this call himself 
knowing the person who called. 

As the old and very true saying is: If your thoughts are pure 
clean, honest and loving throughout the reward awaits you and wel 
comes you at all times. 

Ah, but life is a mystery, but do we not make our own mystica 
surroundings which occur at times? 

No doubt, throughout the past there are two of whom we haw 
thought. But their affairs in this case are only a common occurrence 
to them. 

At Roland’s home he and his wife (Ruth) have had a quarrel anc 
it has been Roland who had ordered the taxi, during his angry mood 

As the truth at all times advances itself, be it known now that 
Ruth did make a mistake in her decision of Roland, regardless of his 
wealth and proposed attention. 

But as we know her mother had a big influence in the decision oi 
love for a purpose not known, unless it was for the benefit of herself 
to obtain wealth, not only her daughter’s happiness. This seems t( 
be the thought of many mothers today, who do not realize this is i 
big world and an open field for the person or persons who have ambi 
tion to achieve success. 

From the appearance of Ruth’s marriage, to Roland it looks as iJ 
she did not decide for herself and future happiness, only clothes ant 
wealth, as many do today. 

The quarrel between Ruth and Roland did not last very long, anc 
he feels his importance at home with his wealth. Roland does not/ 
truly love Ruth, as he once thought. 

He is preparing to leave, in an intoxicated condition. In his anger 
Ruth is thrown to the floor as she tries to talk. Roland only replies 
I never did care for you as I thought.” Laughing in a mean, con¬ 
temptible way, with his hat and coat on ready to leave, he added 
“Take care of Junior.” 



“THE CHOSEN PATH” 


45 


H 


The door bell rings and is answered. The taxi has arrived that 
loland has called. Out the door he goes in an angry mood, not seeing 
'aul driving. 

As the taxi arrives to the destination, Roland gets out, walks to 
he apartment, not even looking at the driver and not paying for the 
lervice. Probably on account of his intoxicated condition. 

Paul is surprised and angry. He jumps out of the taxi and fol¬ 
lows inside, saying to himself, “I’ll be d-. Didn’t even get paid.” 

Paul never lost pay for his taxi service and goes after it, being 
urious, especially about Roland. 

Inside the apartment house Paul raps on a door. It is answered 
>y Esther Stover, formerly employed by Raymond at the drug store. 
>he and Roland Morgan have known each other for a long time. It 
lias been agreed between them to carry on a secret love affair and no 
me had known it. 


The door is opened. Esther is very much surprised to see Paul. 
Te, too, is very surprised, saying: “How do you do, Esther. Living 
|well, eh ? Ask Mr. Morgan if the taxi should wait, or pay now.” 


Esther returns with the money and hands it to Paul. He replies, 
^Ge, you have changed.” The door is slammed in his face, without a 
vord. Paul laughs, stoops down, and takes a peek in the keyhole. 
Esther opens the door as fast as it was closed. There is Paul, peeking, 
tie is caught in a stooped position and looks slowly upward to Esther, 
boking directly at him. Paul surely is embarrassed at the discovery. 

His face turns red as his hair, but he stoops again, in the pres¬ 
ence of Esther, pretending to be looking for something on the floor. 
Remaining in the same position, he makes his way toward the outside 
loor, finding only a cuff link for the trouble. Esther closes the door, 
is he walks away. 

At Raymond’s drug store next day, Hazel Wahl is at work behind 
;he counter. 

Mrs. R. Morgan enters with her son Junior to make a purchase, 
lunior always runs to Raymond upon entering the store and is car¬ 
ried around in Raymond’s arms to the candy case, while Ruth is being 
waited upon by Hazel. 

Raymond never forgets the candy for children, and gives Junior 
a box of chocolates. 

Mrs. Morgan is ready to leave and goes to Raymond for Junior, 
first having a conversation with Raymond. 

Paul enters the door and sees Raymond, Ruth, and Junior talking 
together at the case, then joins in the conversation with some of his 
jokes. 

He suddenly brings forth a cuff link, laughingly saying: “I found 
this last night, and maybe one of you might find the mate for me 
sometime. If you do, I’ll wear them for luck.” 

The cuff link shown is immediately recognized by Ruth as one 
belonging to her husband. She replies: “Where did you find it, Paul?” 

“In an apartment where I drove—” 

“Oh, yes, surely; drove a patron,” Ruth interrupts. “Probably I 
can find the mate for you; it looks like one of Roland’s.” 








46 


“THE CHOSEN PATH ,} 


“Take it,” replies Paul, “I’m sure I don’t want the mate now, and I 
might have been mistaken where it was found, too. Lately I’ve had 
so much to think about that my memory is very poor. Please excuse 
me, for I came to see Hazel.” 

Raymond replies to Ruth: “It looks as if most of his thoughts are 
here, upon Hazel.” 

“Yes it does,” replies Ruth; “some day they might be married. 
It is a wonder to me that you have never married,” 

Raymond replies: “Ruth, you alone know the answer. I might 
have been, and very happy, too, but for a disappointment that you 
know about. No doubt you are happy with your marriage. But I 
still care for you, Ruth. 

“No, Raymond,” replies Ruth, “Im not. Wealth does not always 
bring happiness to all.” A look of consolation and encouragement is 
exchanged between them. Junior has been looking all around the 
store by himself. 

Ruth now confides in Raymond, telling him: “I have experienced 
that wealth robs of happiness, rather than gives. I have made a 
mistake in marriage, not knowing my own mind at the time, but I 
know it now. I do believe that this cuff link was found in another 
woman’s apartment, and it is Roland’s. I have evidence from private 
detectives that Roland is not doing right by his son, Junior, or myself. 
He is following his father’s life as he had lived.” 

Raymond shows only emotion of surprise and offers sympathy to 
Ruth. But he has known of it from the time Esther was discharged 
from his employment. 

Little Junior runs to them. He is ready to go home now that he 
has looked all over the store, as usual. 

With his box of candy under his arm he steps between Raymond 
and his mother, taking them by the hands as they walk to the door. 

Standing by the door, a pleasant smile is exchanged between them 
as they are ready to leave, and see Paul still talking to Hazel, very 
interested and not interrupted, while trying to hold her hand. 

That afternoon at Roland’s office while at work looking over some 
important papers at his desk, he becomes very uninterested and the 
papers do not seem important to him, for he does not care for his 
business or anything else only his own desires. Throwing the papers 
in a corner of the desk, he then reaches into a drawer, bringing forth 
one of Esther’s pictures. 

While looking at it the door opens. Esther has arrived to make 
an afternoon call. Upon seeing her, Roland invites her to his desk. 
She walks toward him, dressed like a bird of paradise and feeling 
about the same. 

Roland hands her some money, all in paper bills. She quickly 
accepts it. Holding the money in one hand, her other arm is placed 
upon the shoulder of Roland and she kisses him. 

The enjoyable meeting between them is interrupted as they 
glance toward the door, seeing Ruth and Junior standing there. 

Junior runs to his father, saying: “Daddy, I has not seen ’ou for 
a long time.” Roland is very much surprised at this sudden appear¬ 
ance and little attention is given to Junior. 

Standing up in an angry mood, pointing his finger at Ruth, Roland 
replies: “You have no right to enter my office without invitation.” 



“THE CHOSEN PATH ” 


47 



Ruth is provoked enough without being insulted. As her eyes 
parkle, looking at both Esther and he, she replies: “As your wife I 
tave entered, but as I pass out this door, I'm not your wife." 

Stepping forward, Ruth continues: “This cuff link is yours and 
t was found in that woman’s apartment." Ruth points her hand in 
nger at Esther, then looks at Roland continuing her speech: “This 
ink has secured other evidence furnished me by private detectives 
mployed to do so. 

“You have chosen your path of life, the same as your father, but 
rour mother never knew. You have gambled with life, love and happi- 
less you might have had. But you have lost and have little else to 
use. Junior, as your son, I as your wife, have won." 

L Grasping Junior in her arms and walking toward the door, Ruth 
rns around to make her final remark: “I pray God my son never 
ollows the path of a fool, as you have chosen." 

Ruth then passes out the door, closing it behind her, hoping never 
o open it again. 

Roland grasps his desk and sinks slowly into his chair, thinking 
jvith most consideration, the wrong he has done. 

Esther walks toward him and placing her arms upon his shoulders, 
•eplies: “Well, Dearie, you know what is supposed to be, will be.” 

Roland replies in sorrow: “No, I alone am to blame, but it is too 
^ate now. You should never have come to my office, knowing that I 
vould be at the apartment later." 

“I know,” replies Esther, “but I had seen the most beautiful dress 
n a store window and was afraid someone might get it before I. 
iTou'll excuse me this time won't you, Roland dear? Bye-bye, hope 
;o see you tonight." 

Esther leaves Roland alone while he continues to think with all 
seriousness of the affair and the wrong done by him upon his wife 
md child. 

Ruth obtains her divorce within three months' time. And to her 
i satisfaction, for she preferred to live her life alone than to be the 
wife of Roland and receive his insults. 

As during the past, Roland and Esther continue their friendship, 
rhey seem happy together while out driving one evening upon a 
country road, laughing and joking as they go on their journey. 

At one of those dangerous turns Roland does not see the sign: 
‘Dangerous—Go Slow," and keeps on driving and laughing at Esther, 
Bas she says: “Now that you are free Roily, I think we should be 
imarried." 

Roland looks to Esther, replying: “Don't be so foolish; you know 
[our bargain; you're living good." 

Esther then replies, taking hold of his hand at the wheel: “But 
ithink of our future child." It was too late to think or talk now—the 
(sign had not been seen and the automobile tumbles down over an em¬ 
bankment to the bottom of the hill. 

These were the last words spoken by Esther and Roland; they are 
(killed in the accident. 








48 


“THE CHOSEN PATH ’ 


While at Raymond’s home, a dinner party had been served that 
evening. 

Leaving the table are: Paul and Hazel, not yet married but pos¬ 
sibly soon; Junior Morgan, his mother, Ruth and her mother, Mrs. 
Brown; also Mrs. Wirt, Paul’s mother; Mrs. Pohl and her son Ray¬ 
mond, the host. 

It is a beautiful moonlight evening and Paul and Hazel decide on 
an outside balcony. 

Mrs. Brown, Mrs. Wirt and Mrs. Pohl, with Junior, retire to the 
living room. Raymond and Ruth then decide upon another balcony. 

The moon and its reflection is cast upon the balconies, seeing Paul 
and Hazel in each other’s arms, at last and forever in love. Ruth and 
Raymond, on the other balcony, are also seen. 

Ruth looks into his eyes. Love and happiness has finally decided 
itself. Raymond caresses Ruth and a kiss is presented with love. 

Junior arrives on the scene to see it all. Interrupting he looks 
to Raymond and says: “You tan’t t’iss my mamma unless you t’iss me, 
too.” At this remark Raymond takes Junior into his arms and kisses 
him, replying: “You are to be my son now.” 

This pleases Ruth very much and she is taken into the other arm' 
of Raymond. 

The moon is slowly disappearing behind the clouds, leaving Paul 
and Hazel on one balcony. Raymond, Ruth and Junior are on the 
other. 

As they look from one balcony to the other a smile of contentment} 
greet each other, with the happy thoughts of the future. 

The moon has vanished behind the clouds. 

Let us all hope for the good and prosperous future to follow. 
For the ones who have lived right and have done their might to be 
right, their reward has awaited them with a welcome to be remem¬ 
bered. 

“THE END” 




THE PHOTOPLAY WRITERS’ AID BOOK 49 


am to write —Stj \iritincj. 


cnr 

Jveep on 


tceepinxj at it . 


£B<2 natwccJl — 









50 


THE PHOTOPLAY WRITERS’ AID BOOK 


©Kale e ude °fa A 


ilafilij 


:e ude o f i\ om o\vu inonl 
au3 vCtilc ijoiir ovvn tlaoiuj li lo — 
exacllij \vlial t|< 


iou tnoati. 






CAST OF CHARACTERS — U THE CHOSEN PATH” 


51 


Cast of Characters As They Appear 


THE TEACHER— 

Raymond Pohl, Jr.- 

Ruth Brown, Jr.— 
Roland Morgan, Jr.- 

Paul Wirt, Jr.— 

Mrs. O. Pohl— 


Interested in her duty and the scholars, 

Miss Williams- 

M- 


The studious son of a widow of moderate 
circumstances, 

Master- 

Just a school girl, with a fortune-seeking 

mother, M- 

A wealthy man’s son, without a worry, and 
a student, 

M- 

A freckled face lad, with a big heart, and 
good thought for everyone, 

M- 

Interested in her son’s welfare, 

M-- 


Mrs. A. Brown— 

Mr. B. E. Morgan— 

Roland Morgan— 
Paul Wirt— 

Raymond Pohl— 

Ruth Brown— 

Esther Stover— 

Hazel Wahl— 

John White— 


A woman disappointed in wealth, and wish¬ 
ing her daughter to be successful in a 
wealthy marriage, 

M- 

A business man, owning a big manufactur¬ 
ing plant, with plenty of wealth and graft, 

Mr.- 

Now about 23 years old, with a college 
education, Mr.- 

Advanced to the same age, and now a taxi- 
driver, supporting his mother in a humble 

home, Mr.- 

A clerk in a Drug Store, of the age 23 years, 
and supporting his mother; also in love with 
Ruth, hoping to marry her very soon, 

Mr.- 

Very refined, educated and haughty, at the 
age, proclaimed by her, 22 years old, 

M- 

A refined young lady, of the age 22 years, 
inclined to be troublesome, 

M- 

A friend of Esther’s, but in love with Paul, 

M- 

The Butler for the Morgan household, 

Mr.- 


Carrie Flannigan— The Cook for the Morgan home, 

M- 

Ben Wolfe_ A Gambler with a guilty conscience. 

Mr.- 


Junior Morgan— A child full of original tricks. 

Master- 



























52 


SCENARIO — “THE CHOSEN PATH ” 


A Photoplay from Life 

“THE CHOSEN PATH” 

(Copyright, 1922) 

By Harold A. Mohr 

(FEATURING THE SELECTED) 

1. Main Title—“THE CHOSEN PATH.” 

2. Producer’s Title—“THE CHOSEN PATH.” 

3. Credit Title—“Live right is the reward of doing right.” 

4. Sub-title— 

5. Sub-title— 

Descriptive Title: 

INSERT: 

FORWARD 

Some people say: “Your life and happenings in life are 
supposed to be.” 

In answer we say: “Your life and happenings in life are as yoi 
plan. If you do right, and do your might to be right, yoi 
will live right. In this life we all encounter many differenl 
experiences. Some learn from others, some by themselves 
and some le^rn from experience or from the experiences oi 
others, without a scratch or hardship endured. 

The story that follows, you will see, 

One which, to be true, could be; 

Beginning at the age, of years, just ten, 

Ending at a time, we know not when. 

SCENE 1 

INT. of school room. (Iris in). Entire class at study. Teachei 
at desk looking over class, and turning all attention to one rov? 
in particular. Returns her attention to business on desk, while 
the class is at study. 

6. Sub-title: “MISS WILLIAMS, THE TEACHER, INTERESTED 

IN HER SCHOLARS AND SUSPICIOUS OF A 

FEW STUDENTS.” M- 

(Close Up) of three seats in same row. First seat, Roland Mor¬ 
gan, not worrying; second seat, Ruth Brown, waiting anxiously; 
third seat, Raymond Pohl, is passing the answer of a problem to 
Ruth; she copies it and passes it on to Roland, seated in front of 
her. It is copied by him. (Dissolve) to teacher, with head bent 
down at her desk, but eyes are looking over the rims of her 
glasses and has seen the actions of the three. 

SCENE 2 

7. Spoken Title: “PAUL WIRT, PLEASE COLLECT THE AN¬ 

SWERS.” 

Paul arises from seat and begins work as directed. (LONG 
SHOT) of entire class at attention, Paul collecting the answers. 






SCENARIO — “THE CHOSEN PATH ” 


53 


8. Sub-title: PAUL WIRT NEVER LIKED TO DO FAVORS FOR 

THE TEACHER, BUT ALWAYS HAS A SMILE 
BEHIND HIS FRECKLES. 

Master -. 

(CLOSE UP) of Paul handing the answers to teacher at desk. 
Teacher thanks Paul, he (EXITS). Teacher looks at answers 
with suspicion, and in comparison of three, decides to change 
seats. 

9. Spoken Title: “ALL SCHOLARS WILL NOW CHANGE 

SEATS AS I DIRECT/’ 

SCENE 3 

Teacher looks over the class with suspicion. (LONG SHOT). 
Entire class is surprised and begin placing their books on top of 
desk while teacher walks in the aisle alongside of Roland, Ruth 
and Raymond. (IRIS OUT). 

(Semi Close up) Teacher standing in aisle along side of Ruth, 
saying and directing the change of seat to her. 

10. Spoken Title: “RUTH, YOU WILL OCCUPY THE FRONT 

SEAT IN THE FIFTH ROW.” 

Raymond and Roland are surprised. Ruth, preparing to change, 
takes books in arms and makes her (EXIT). 

11. Sub-title: RUTH BROWN, WELL LIKED BY BOTH ROLAND 

AND RAYMOND, HER MOTHER FAVORING 

ROLAND. Miss -. 

Semi Close Up) Teacher speaking to Roland, he is listening: 

12. Spoken Title: “ROLAND MORGAN, YOU WILL CHANGE 

SEATS WITH THE PUPIL IN THIRD ROW, 
FIRST SEAT.” 

Roland, very angry, prepares to change with his books, with a 
look of contempt for the teacher, he arises to make his change, 
(EXIT) Roland. 

13. Sub-title: ROLAND MORGAN, A RICH MAN’S SON, AND 

KNOWS IT. Master-. 

(SEMI CLOSE UP) Teacher looking to Raymond, saying: 

14. Spoken Title: “RAYMOND POHL, YOU MAY REMAIN IN 

YOUR SEAT, BUT DO NOT PASS ANY MORE 
ANSWERS.” 

Raymond, with big smile on face, placing books back in desk, 
while teacher walks away. (EXIT) teacher. 

15. Sub-title: RAYMOND POHL, THE STUDIOUS SCHOLAR, 

AND WISHING TO HELP OTHERS. 

Master-. 

SCENE 4 

(LONG SHOT) of entire class, placing books back in desk with 
many smiles. Teacher has returned to desk and is looking over 
the class, preparing to assign the next lesson. It is assigned 
and all students begin to study from their books. Roland study¬ 
ing harder than ever, Ruth at hard study, Raymond at study, 
(DISSOLVE) to (VIGNETTE) of Paul studying with his book 
open and a “Sure Shot Sam” novel being read inside of book. 
(IRIS OUT). 









54 


SCENARIO —“THE CHOSEN PATH’’ 


SCENE 5 

(FADE IN) Clock on wall of school room at 11:30 A. M. (FADE 
OUT). 

16. Sub-title: SCHOOL IS NOW DISMISSED TO AFTERNOOIS 

SESSION. 

EXT. of school, at entrance in yard. (LONG SHOT) scholars 
leaving school, departing for home. (DISCOVER) (SEMI¬ 
CLOSE UP) Ruth, Raymond, and Roland, talking together aboui 
change of seats, etc. Roland is angry and tries to blame Ray¬ 
mond for being seen by the teacher, saying: 

17. Spoken Title: “RAYMOND, YOU SHOULD HAVE BEEN OIs 

THE LOOKOUT FOR THE TEACHER, IT’S 
YOUR FAULT.” 

Raymond answers Roland, while Ruth is at attention, saying: 

18. Spoken Title: “I GAVE THE ANSWER TO RUTH, NO! 

YOU!” 

Raymond looks to Ruth in surprise. She shies at the remark 
and says: 

19. Spoken Title: “DON’T FORGET MY PARTY TONIGHT—1 

WISH BOTH OF YOU TO COME.” 

Raymond and Roland look at each other in contempt and sur¬ 
prise, both smile at Ruth with pleasure, answering “Yes,”— 
(EXIT)—Ruth waving her hand. Raymond and Roland starl 
walking toward their homes, Roland saying: 

20. Spoken Title: “I HOPE THAT FRECKLE FACED RAG 

PICKER AIN’T INVITED TOO.” 

SCENE 6 

EXT. on sidewalk—Raymond and Roland (IRIS IN) walking 
together, conversing together, Raymond saying: 

21. Spoken Title: “FRECKLES IS A FRIEND OF MINE AND IS 

AS GOOD AS YOU, IF HE IS POOR.” 

Roland laughs and pushes Ray, he gets angry, they argue, ther 
fight back and forth as kids do. As they walk toward a sigr 
post near the school house, reading— 

22. INSERT: “SCHOOL HOUSE, AUTOMOBILES GO SLOW.’ 
(FADE IN) to an oncoming automobile at speed, approaching 
scene. 


SCENE 7 

EXT. near curbstone—(ACTION) Raymond and Roland at fight¬ 
ing near curbstone or street, at sign post, they clinch. (DIS¬ 
SOLVE) to (LONG SHOT) including approaching auto and 
Roland in action. (FAKING) a fight in a clinch with dummy, 
struggling, Roland breaks loose, pushing the dummy in street, 
directly in front of the approaching automobile—it is run over. 
Auto never stops (CUT SCENE), follow auto as it speeds away 
—(DISSOLVE) to Raymond lying in street, face down, and 
Roland running away. 

SCENE 8 

EXT. on street. (SEMI-CLOSE UP) of Raymond in street, 
face down, unconscious, (ENTER) Paul running in to help Ray 



SCENARIO —“THE CHOSEN PATH ” 


55 


and looks up, calling to another auto, holding Raymond’s head 
and arms. (ENTER) other auto. Driver gets out, picks up 
Raymond in arms, placing in back of auto. Paul jumps in auto, 
with Raymond, while driver takes the wheel and starts off. 
(FADE OUT). 


SCENE 9 

EXT. of Hospital. (IRIS IN), Raymond is being carried in by 
auto driver, Paul is following, very excited, running ahead to the 
door,—he opens it. (IRIS OUT). 

SCENE 10 

INT. of hospital, private room. (IRIS IN) Raymond is in bed, 
unconscious, Paul sitting on bed, looking at Raymond in sorrow. 
(ENTER) Nurse with meal for Raymond on tray, placing on 
stand near bed. Paul walks toward stand, rubbing stomach and 
wetting lips with tongue (he’s hungry), while the nurse looks at 
Ray still unconscious, taking his pulse and tucking him under the 
covers with good care, etc. She turns about, picks up the tray, 
covers it up and walks out, carrying the tray along. Paul is 
very much disappointed, scratching his head, thinking to him¬ 
self— 

23. Spoken Title: “GEE, I THOUGHT I WAS GOING TO EAT.” 
Paul walks to the door, looks outside, then returns to the bed¬ 
side of Raymond, and saying, as if Raymond could hear it— 

24. Spoken Title: “IT LOOKS AS IF I WILL HAVE TO HELP 

MYSELF.” 

Paul then walks to the door. (IRIS OUT). 

SCENE 11 

EXT., home of Raymond. Mrs. Pohl, his mother, standing in 
doorway, very worried as to the whereabouts of Raymond. She 
sees someone passing by. (DISCOVER) Roland Morgan re¬ 
turning to school. Mrs. Pohl waving her hand to him, saying: 

25. Spoken Title: “ROLAND, HAVE YOU SEEN RAYMOND 

ANYWHERE?” 

Roland continues on his way to school, shaking his head “no” in 
reply. 

26. Spoken Title: “NO, MA’M.” 

Mrs. Pohl, very anxious and nervous, walks to the street, looking 
in all directions for Raymond. (IRIS OUT). 

SCENE 12 

INT. of school-room, (FADE IN) clock on wall at 1:00 P. M. 
(FADE OUT). (FADE IN) entire class at study, two vacant 
seats very prominent; teacher, at desk, inquires: 

27. Spoken Title: “HAS ANYONE SEEN RAYMOND POHL OR 

PAUL WIRT THIS NOON?” 

Roland stands up saying, as he looks to the teacher: 

28. Spoken Title: “THEY SAID, “BECAUSE THEIR SEATS 

WERE CHANGED, THEY WON’T COME TO 
SCHOOL.” 




56 


SCENARIO —“THE CHOSEN PATH ’ 


Ruth looks at Roland with suspicion, and shames him. He looks 
guilty, turns his head toward a book, and begins to read. (FADE 
OUT). 

SCENE 13 

INT. of hospital room, (DISCOVER), Paul seated on the bed¬ 
side of Raymond, with knife and fork showing from pocket, eat¬ 
ing a sandwich, and used dishes showing under bed, in a care¬ 
less way. 


SCENE 14 

INT. of hospital room, (CLOSE UP) of both boys at bed. Ray¬ 
mond comes to his senses and explains to Paul how it happened, 
then asks for his mother. She is not there, Raymond says: 

29. Spoken Title: “TELL MY MOTHER I’M HERE.” 

Paul arises from the bed, saying, with a nod of the head: 

30. SPOKEN TITLE: “SURE I WILL. BUT I’LL BE BACK AT 

SUPPER TIME.” 

Paul starts for the door to make his (EXIT). (IRIS OUT). 
SCENE 15 

INT. of hospital room (IRIS IN), Mrs. Pohl, very excited, run¬ 
ning to the bedside of Raymond, taking him in her arms. Ray¬ 
mond smiles. 

31. Spoken Title: “I’LL NOT BE ABLE TO SELL PAPERS NOW, 

NOR GO TO RUTH’S PARTY, EITHER.” 
Raymond breaks into tears and is consoled by his mother saying, 

32. Spoken Title: “NEVER MIND, MY BOY, BUT THE DOCTOR 

SAID YOU COULD GO HOME WITH ME.” 
Raymond looks to his mother with pleasure, under his tears, still 
in his mother’s arms. (IRIS OUT). 

SCENE 16 

INT. of living room, off reception hall, showing dining room in 
B. G. Ruth’s home, moderately furnished (IRIS IN) On, the 
invited guests are arriving. As they enter all eyes are attracted 
to the dining room table, with large birthday cake placed in the 
center. 

Ruth has met her friends at the door, but still there is another 
missing. He is Raymond. Ruth had been looking for him. 

33. Sub-title: “ALL THE INVITED GUESTS HAVE ARRIVED 

BUT ONE.” 

SCENE 17 

INT. of living room, with front windows and curtains in B. G. 
(SEMICLOSE UP) On all guests, with Ruth very prominent, 
calling to Roland. He approaches her upon her call. Ruth asks 
a question. 

34. Spoken Title: “WHERE IS RAYMOND?” 

Roland replies with a smile, saying: 

35. Spoken Title: “HE WON’T COME TO YOUR PARTY, AND 

WON’T GIVE YOU A PRESENT, ’CAUSE HE 
DON’T LIKE YOU.” 



SCENARIO — “THE CHOSEN PATH” 


57 


Ruth feels resentful at his statement and smiles with suspicion, 
as she walks away from Roland toward the crowd. Roland fol¬ 
lows her. Looking out the window he sees Paul, calls to Ruth 
and the crowd to look out the window. They do, then laugh, all 
of them. (DISSOLVE) to (VIGNETTE) of Paul, looking 
through the window. (IRIS OUT). 

SCENE 18 

INT. at window, with curtains in B. G., as in Scene 17. (IRIS 
IN) on (CLOSE UP) of Roland at window, drawing back the 
curtains that the crowd might see, “Freckles” on the outside, 
looking in at the party, etc. As the curtains are drawn, Paul 
(“Freckles”) is seen shaking his fist at Roland, saying: 

36. Spoken Title: “I’LL GET EVEN WITH YOU FOR WHAT 

YOU DID TO RAY, BELIEVE ME.” 

Roland drops the curtains, while “Freckles” is still looking 
through the window, and begins to feel nervous. (IRIS OUT). 

SCENE 19 

EXT. of the porch at Ruth’s home (night), with porch light. 
(IRIS IN). On, Paul, sitting upon the steps, (ENTER) Ruth, 
from the door of the house, walking toward Paul, saying, in 
surprise: 

37. Spoken Title: “WHAT HAS HAPPENED TO RAYMOND?” 
Paul replies, in a very serious and sorrowful expression: 

38. Spoken Title: “HE IS HOME—ROLAND TRIED TO KILL 

HIM.” 

Ruth is amazed with wonder. In her excitement she turns from 
Paul, running toward the home of Raymond. Paul remains in 
his place, seated upon the steps waiting for Roland. (EXIT) 
Ruth (IRIS OUT). 

SCENE 20 

INT. of bed-room at Raymond’s home, moderately furnished 
(IRIS IN) On, Raymond in bed, Ruth seated in chair near bed, 
talking to him, as the tears roll down his face. Ruth brings 
forth a handkerchief, in sympathy, to dry his tears, which she 
does, saying: 

39. Spoken Title: “I’M SORRY FOR YOU. AND I DON’T LIKE 

ROLAND BECAUSE HE TOLD A STORY, 
NOT TRUE.” 

Raymond replies with contentment at Ruth’s statement, with a 
smile: 

40. Spoken Title: “THE ONLY SUIT OF CLOTHES I HAD IS 

ALL TORN. ANYHOW, I HAVEN’T NICE 
CLOTHES, LIKE ROLAND.” 

On the impulse of the moment, Ruth bends over to Raymond 
and by surprise, she kisses him; then loses no time to run away 
toward her home, while Raymond smiles, with the thought of his 
first kiss from the girl he admires. Very contented are his 
thoughts as he sinks back into pillow, that rests his head. (IRIS 
OUT). 






58 


SCENARIO —“THE CHOSEN PATH ” 


SCENE 21 

INT. of dining room at Ruth’s home, moderately furnished 
Cake on the table, with the amount of candles representing he; 
age in the center of cake and all lighted. (IRIS IN), On, th< 
guests seated at the table, with Ruth at one end, in (B. G.) 
standing and preparing for the act of, and the instruction as t< 
the cutting of cake, assisted by her mother, Mrs. Brown, re 
moving the candles. (EXIT) Mrs. Brown, to kitchen, leaving 
Ruth cutting the cake. She remembers Paul outside (CLOSE 
UP), two pieces of cake is cut three times the size of others anc 
wrapped in paper napkins. She is seen by her guests as sh( 
picks up both pieces, one in each hand. Ruth (EXIT) (LONG 
SHOT) the guests at table watching Ruth go through door 
(ENTER) Mrs. Brown, with tray of ice cream on dishes. It is 
served to the guests. (FADE OUT.) 

SCENE 22 

INT. of kitchen, at small table. On, Ruth dishing ice cream, 
heaping size, picks them both up in hands and makes (EXIT) oul 
back door, as mother (ENTERS) and sees her going. (IRIS 
OUT). 

SCENE 23 

EXT. of porch, night, with lights showing inside of home. 
(IRIS IN) On, Paul sitting on steps with two pieces of cake in 
hands, (ENTER) Ruth, with ice cream. Paul stands up as Ruth 
hands him the dishes one by one, saying: 

41. Spoken Title: “THIS IS FOR YOU, AND THIS IS FOR RAY¬ 

MOND. BOTH OF YOU CAN HAVE A LIT¬ 
TLE PARTY.” 

Paul, receiving the dishes with much clumsiness, and nearly 
dropping one of them, says: 

42. Spoken Title: “YOU BET. THANKS. WATCH ME GO.” 
Paul starts to leave with a dish in each hand and the cake 
laying on his arms, trying to balance it. Create some comedy. 
(IRIS OUT). 


SCENE 24 

INT. of kitchen, (IRIS IN), Mrs. Brown standing by window, 
sees Ruth enter the door and calls to her in an angry way, 
saying: 

43. Spoken Title: “YOU SHOULD NOT ASSOCIATE WITH 

THAT LITTLE BEGGAR. ROLAND IS YOUR 
GUEST, AND MUCH BETTER.” 

Ruth then looks to her mother, saying, 

44. Spoken Title: “ROLAND IS A BAD BOY. HE TELLS 

STORIES AND FIGHTS. 

Ruth and mother then walk to other room, with guests. (IRIS 
OUT) 

SCENE 25 

INT. of living room (ON) Roland sitting in big velour chair, aris¬ 
ing as Ruth and mother walk toward him with smiles, other chil¬ 
dren playing games. Mrs. Brown then (EXIT) leaving Ruth 



SCENARIO —“THE CHOSEN PATH' 1 


59 


and Roland with other children. Ruth looks at Roland with 
thoughts of hatred. He smiles at her and she walks away from 
him. (IRIS OUT). 

SCENE 26 

INT. of bedroom, Raymond’s home (ordinarily furnished) (IRIS 
IN). Raymond sitting up, eating ice cream and cake, with Paul 
seated in a chair beside the bed. Both boys much pleased. (IRIS 
OUT). 

45. Sub-title: “TIME HEALS ALL WOUNDS.” 

Scenic Effect: Clock on one side, hands turning. Calendar on 
other, with date marked in circle (2-30). 

SCENE 27 

EXT. of Motion Picture Theatre (IRIS IN), On, Raymond sell¬ 
ing papers, late afternoon, approaching all people passing and 
coming from show. 

SCENE 28 

EXT. of Motion Picture Theatre, leaving the theatre entrance is 
Ruth, her mother, and Roland. (Semi-Close UP) They are seen 
by Ray; they speak. Both boys proudly tip their hats. Ray 
begins to work harder, hollering with loud voice: 

46. Spoken Title: “PAPER. GET A PAPER. READ IT AND 

BELIEVE IT. HERE, SEE A PAPER!” 

Ray continues from one person to another as they pass. (FADE 
OUT). 

SCENE 29 

EXT. at another corner. (FADE IN), Freckles (Paul) selling 
his last two papers. Then walks away happy. (IRIS OUT). 

SCENE 30 

EXT. of picture theatre (IRIS IN, Raymond still selling papers. 
(ENTER) Paul walking toward Ray, laughing and looking over 
the new suit Ray is wearing. 

47. Spoken Title: “MUST O’ GOT IT ON TIME; THAT’S WHY 

YOU’RE STILL YELPING, EH, RAY?” 

Ray replies, shaking his head, No, and laughing to Paul, saying: 

48. Spoken Title: “I SAVED ENOUGH TO BUY IT. BUT I 

WANT TO TAKE RUTH AND HER MOTHER 
TO A SHOW LIKE ROLAND DOES.” 

Paul scratches his head, thinking and wondering and then 
speaks: 

49. Spoken Title: “I DON’T BLAME YUH. GIMME SOME 

PAPERS. I’LL ’ELP YUH, TOO.” 

The papers are divided, by Ray, and half given to Paul. (IRIS 
OUT). 

SCENE (Cut Back)—Same as Scene 29 
EXT. at another corner, (IRIS IN) On, Paul trying to sell papers 
to all passing by, but no success. He gets discouraged, looks 
around in a guilty, angry way; no one sees him, he is alone and 
says to himself: 



60 


SCENARIO —“THE CHOSEN PATH ’ 


50. Spoken Title: “OH, ’ELL; EVERYBODY HAS PAPERS.” 
Walking toward a waste paper can, nearby, he opens the lid 
looks around in a guilty way, counts the papers. Like a flash 
he throws them into the can. Then walks away. (IRIS OUT) 

SCENE 31 

EXT. of Picture Theatre. (IRIS IN) On, Raymond has sold al 
but a few papers, and glances to one side, seeing (ENTER) Pan 
with no papers. Raymond is enthused, as Paul goes down ir 
his pockets, bringing forth a hand full of pennies and hands 
them to Ray. Ray then counts them over with a smile and says: 

51. Spoken Title: “THANKS, FRECKLES; I’LL DO THE SAME 

FOR YOU SOME DAY. 

Ray puts the money in his pocket and places his arm on Paul’s 
shoulder as they start walking away, toward home. From these 
actions of both boys it should be plain to see the good friend¬ 
ship existing between them, as they walk away, (FADE OUT). 

52. Sub-title: “FRECKLES NEVER TELLS WHAT HE HAD 

DONE WITH THE PAPERS.” 

Scenic Effect: Of waste paper can with sub-title. 

53. Sub-title: “YEARS PASS BY FROM CHILDHOOD DAYS, 

ONWARD TO THE AGE OF RESPONSIBILITY.’ 1 

54. Sub-title: “ROLAND MORGAN RETURNS FROM COLLEGE 

AND IS PLACED IN AN EXECUTIVE POSITION 
AT HIS FATHER’S FACTORY.” ROLAND MOR¬ 
GAN, 

Mr.- 

“B. E. MORGAN, HIS FATHER, OWNER OF A 
FACTORY AND HAVING PLENTY OF MONEY 
AND GRAFT,” 

Mr. - |j 

SCENE 32 

INT. of office at factory. (IRIS IN) On, B. E. Morgan showing 
Roland some important papers, at desk standing, then laying the 
papers down on desk and placing hand on Roland’s shoulder 
seriously, father says: 

55. Spoken Title: “MY SON, I HAVE PLACED YOU IN THIS 

POSITION THAT YOU MIGHT BE A SUC¬ 
CESS. KEEP OUT OF TROUBLE, AND NO 
MORE I. O. U.’s TO BE PAID AS PREVIOUS.” 
Roland and father then shake hands, with all seriousness of ex¬ 
pression and confidence. (FADE OUT). 

56. Sub-title: “SOME PEOPLE ARE GIVEN AN OPPORTUNITY, 

WHILE OTHERS—” 

SCENE 33 

EXT. on street in front of big hotel. (LONG SHOT) showing 
taxis in line. Seated in the last taxi (DISCOVER), Paul Wirt 
reading a paper, (CLOSE UP), he gets excited, rolls the paper 
in his hand and jumps from taxi, in a hurry. 





SCENARIO —“THE CHOSEN PATH” 


61 


57. Sub-title: “FRECKLES,” AS ONCE CALLED IN HIS CHILD¬ 

HOOD DAYS, HAS LOST THE NICKNAME AND 
THE FRECKLES, BUT HIS RED HAIR REMAINS. 
HE IS NOW CALLED PAUL BY HIS FRIENDS.” 
PAUL WIRT, 

Mr.- 

SCENE 34 

INT. of Drug Store. (IRIS IN) On, Raymond at work arrang¬ 
ing articles on shelf. (ENTER) Paul with newspaper in hand, 
saying: 

58. Spoken Title: “HELLO, RAY. DID YOU SEE THE SAS-I 

ITY NEWS? OR DO YOU KNOW ABOUT IT?” 
Raymond shakes his head in question, as Paul begins to read 
the paper. 

159. Sub-title: “RAYMOND POHL, SUPPORTING HIS MOTHER 
AND IN LOVE WITH RUTH FROM CHILDHOOD 
DAYS.” 

Mr.- 

Raymond is attentive as Paul continues to read the paper to 
him. Paul then puts the paper down and with an expression 
of hands, says: 

60. Spoken Title: “ROLAND MORGAN HAS RETURNED FROM 

ZE BEEG SCHOLLEGE.” 

Paul and Ray both have a laugh. Raymond then replies: 

61. Spoken Title: “I HOPE HE FINDS TIME TO CALL ON ME.” 
At this remark Paul is very provoked, and in a mean contempt- 
able way, says: 

62. Spoken Title: “HE DON’T HAVE TO LOOK FOR ME. I 

NEVER DID LIKE HIM.” 

Raymond is surprised at the remark. Paul then bids so-long, 
probably see you tonight. (EXIT Paul). Raymond returns to 
his work, and then glances to the door, very surprised, and walks 
forward. 

SCENE 35 

INT. of drug store at door. (IRIS IN) On, Ruth and Roland 
(ENTER) at door, Raymond walking forward to meet them. 
They meet and both boys shake hands in a friendly way. The 
three speak and smile very much pleased. Raymond says: 

63. Spoken Title: “SUCCESS TO YOU, ROLAND, IN YOUR 

BUSINESS CAREER.” 

Roland replies, showing interest of Ruth, smiling: 

64. Spoken Title: “SAME TO YOU. THANK YOU. RUTH AND 

I ARE OUT DRIVING FOR THE AFTER¬ 
NOON AND IN A HURRY. SO WE WILL 
SEE YOU AGAIN.” 

Ruth and Roland (EXIT) with a smile to Ray. Ruth takes 
Roland by the arm. Raymond returns to his duty realizing the 
sudden change in Ruth, and that Roland also admires her. 

65. Sub-title: “RUTH BROWN, REFINED, EDUCATED AND 

HAUGHTY, ADMIRED BY BOTH RAYMOND AND 
ROLAND FROM CHILDHOOD DAYS.” 

Miss --- 








62 


SCENARIO —“THE CHOSEN PATH ” 


SCENE 36 

INT. of living room, Ruth’s home (Afternoon) (IRIS IN), Rut! 
playing piano, while Roland and Mrs. Brown are conversing 
about most anything, amounting to nothing, only plenty of 
trouble, or wealth. 

66. Sub-title: “MRS. BROWN, INTERESTED ONLY IN A 

WEALTHY MARRIAGE OF HER DAUGHTER.’ 

Mrs. - 

Roland prepares to leave, arising from his seat. Mrs. Browr 
also prepares to (EXIT) for his hat and coat. She makes hei 
(EXIT) while Ruth remains at the piano talking to Roland 
sauve, etc., he takes it all. (ENTER) Mrs. Brown with Roland’s 
coat and hat, saying: 

67. Spoken Title: “I AM VERY PLEASED. YOU AND RUTH 

ARE GOOD FRIENDS. WE WISH YOU TO 
VISIT US OFTEN.” 

Roland thanks her for the offer, nodding his head with a smile, 
also to Ruth. He walks to the door, bidding good-bye, making 
his (EXIT) while Ruth and her mother decide to be seated in 
their chairs for more chatter about the future. (IRIS OUT). 

SCENE 37 

INT. of the home of Raymond, at living room, (not elaborate, 
but neat)). (Evening), Raymond enters his home and runs to 
the phone, in a small corner with desk and phone in window. 
Clicking the receiver up and down (ACTION), Ray talking over 
phone (DISSOLVE), to Ruth talking on the other end. 

SCENE 37-A—Supplement 

INT. of small corner, with phone and stand, near window. 
(CLOSE UP) Ruth, (as phone rings), takes the receiver in her 
hands to answer, and says: 

67. Spoken Title: “OH, I HAD FORGOTTEN THAT THIS WAS 

YOUR NIGHT OFF DUTY, AND HAVE 
PROMISED ROLAND TO GO TO THF PAL¬ 
ACE DE DANCE.” 

Ruth continues the conversation, with a haughty expression of 
being so important, saying: 

68. Spoken Title: “I’LL DANCE WITH YOU JUST THE SAME, 

IF YOU WILL ATTEND.” 

Ruth, with her smile of importance, waits for Raymond’s reply 
(DISSOLVE) to Raymond, thinking hard and planning, nervously 
tapping his fingers upon the phone stand, with disappointment 
and sorrow; then suddenly raising his head to reply over the 
phone: 

69. Spoken Title: “I’LL BE THERE MOST SURELY, TO DANCE 

WITH YOU AS USUAL, RUTH.” 

Raymond hangs up the receiver, having something to think about 
very seriously. He arises from the phone stand. (DISSOLVE) 
to Ruth, at phone stand, taking hands off phone, with a smile and 
sneer, looking at phone as much as to say: “The fool he is.” 
(IRIS OUT).” 




SCENARIO —“THE CHOSEN PATH ” 


63 


SCENE 38 

INT. of Raymond's home (living room), moderately furnished. 
(IRIS IN) On, Mother reading as Raymond (ENTER), and 
begins to talk to her. She puts the book down upon a stand, 
understanding what has happened and looking to Raymond with 
sympathy. Raymond is very disappointed and discouraged. 

70. Sub-title: “MRS. POHL, MOTHER OF RAYMOND, WHO 
UNDERSTANDS THE LOVE AFFAIR AND DIS¬ 
APPOINTMENT OF HER SON.” 

Mrs.- 

In a consoling way, Mrs. Pohl talks to Ray, and says: 

,71. Spoken Title: “MY SON, IT IS BEST THAT RUTH DECIDES 
FOR HERSELF.” 

Raymond nods his head, agreeing, with sorrow, saying: 

72. Spoken Title: “YES, YOU ARE RIGHT; BUT I LOVE HER.” 
Mother replying to Ray, that some day Ruth will see her mis¬ 
take, etc., etc.; Raymond then takes mother in arms with a 
caress, and smiling, says: 

|73. Spoken Title: “I HAVE YOU, MOTHER; BEST OF ALL.” 

SCENE 39 

INT. of dance hall, crowd dancing, Raymond looking for Ruth. 
(IRIS IN), (CLOSE UP) of Ray looking over the crowd from 
corner (DISSOLVE) to (LONG SHOT) of crowd, dancing; the 
dance is over, all walk from floor. 

SCENE 40 

INT. of dance hall, (ANGLE SHOT) in private, (DISCOVER) 
Paul Wirt, with two lady friends, and Raymond. All are talking 
and laughing. Paul introduces girls first. 

74. Spoken Title: “MR. POHL, MEET MISS ESTHER STOVER.” 
All friendly, laugh and joke, Ray glancing around for Ruth. 

AND MISS HAZEL WAHL.” 

75. Sub-title: “TWO GIRLS SEEKING PLEASURE, AND 

FRIENDS OF PAUL WIRT.” 

MISS ESTHER STOVER: 


MISS HAZEL WAHL: 


Raymond acknowledges the introduction. 

SCENE 41 

INT. of dance hall, music plays, others are dancing (SEMI¬ 
CLOSE UP). Ray and Esther, Paul and Hazel start to dance 
(LONG SHOT). While dancing, Raymond has seen (DIS¬ 
SOLVE) to Roland and Ruth dancing together (VIGNETTE). 
Ruth is very attentive to Roland, with smiling eyes of infatuation 
fixed upon him while dancing (FADE OUT). 

SCENE 42 

INT. of dance hall. Music not playing, people are talking (IRIS 
IN). Raymond excuses himself from Paul and the girls. In a 
hurry he leaves with a look of determination. 







64 


SCENARIO —“THE CHOSEN PATH ” 


SCENE 43. 

INT. of dance hall, in private space (DISCOVER), Ruth and Rol¬ 
and. Ray, asking for the next dance with her. He is snubbed by 
Ruth stating that she has the next with Roland. Raymond ther 
asks for the following dance. Roland looks at Ray with disgust 
and ill temper. Ray does not see the expression of Roland, witfc 
a sneakish, sarcastic grin. And continues talking to Ruth, in¬ 
terested in her only, wishing Roland would excuse himself, but 
he sticks around. Ruth has consented to dance with Ray, follow¬ 
ing the one ahead. The music plays. Ruth excuses herself in a 
haughty way and turns to Roland for the dance (IRIS OUT). 

SCENE 44 

INT. of dance hall (CLOSE UP), Raymond watching and looking 
with disappointment at (VIGNETTE) of Roland and Ruth dan¬ 
cing. Ruth is very attentive, while dancing with Roland. The 
music stops, all are leaving the floor (IRIS OUT). 

SCENE 45 

INT. of dance hall. Floor is cleared; Raymond has met Ruth, 
and is ready for the next dance; conversing (IRIS IN). Ray¬ 
mond and Ruth start dancing. (VIGNETTE) of Ruth and Ray¬ 
mond while dancing. She is very cold toward him, with nothing 
to say, only to dance as led. Ray tries to be interesting but no 
hitch. Music stops (IRIS OUT). 

SCENE 46 

INT. of dance hall. On side, Ruth and Raymond are walking 
together slowly, conversing. They arrive at a balcony and are 
in private, as Raymond pulls the curtains, to look inside. Ruth 
is invited to enter. She does. 

SCENE 47 

INT. of balcony, in private. Ruth and Raymond, talking suave 
(IRIS IN). Raymond says, approaching, with love: 

76. Spoken Title: “I HAVE ALWAYS LOVED YOU, RUTH, AND 

HOPED TO HAVE YOU AS MY WIFE. ,, 

Ruth laughs and says: 

77. Spoken Title: “BUT, RAYMOND, YOU HAVE ONLY A PO¬ 

SITION, AND YOUR MOTHER TO SUPPORT.” 
Raymond is sorrowful and bows his head in suffering. Ruth 
then replies to him, very haughtily: 

78. Spoken Title: “I DESERVE CLOTHES, A PRETTY HOME 

AND LUXURY, AS MOTHER SAYS.” 

Raymond replies in a very passionate and excited way, Ruth in 
his arms: 

79. Spoken Title: “BUT I LOVE YOU.” 

Embracing, in his arms, with love in his eyes saying it. Ruth 
objects. (IRIS OUT.) 

SCENE 48 

INT. of balcony at curtains toward exit. (CLOSE UP) (AC¬ 
TION). curtains are pulled back, (DISCOVER) Roland, in anger. 
(ANGLE SHOT) sees Ruth in Raymond’s arms and says: 



SCENARIO —“THE CHOSEN PATH 


65 


180. Spoken Title: “I WOULD LIKE AN EXPLANATION FROM 
BOTH OF YOU.” 

They are surprised, especially Raymond. He looks in question. 
Ruth takes it cool, looks at Roland, and says: 

81. Spoken Title: “HE HAS INSULTED ME. YOU KNOW I 
ALWAYS FAVORED YOU.” 

Roland takes Ruth in his arms, embracing in presence of Ray, 
and kisses her. She accepts. Raymond has seen it all and 
hangs his head in despair. Like a flash he rushes toward Roland 
and strikes the first blow. A fight follows. Roland is beaten to 
a corner. Lying on the floor he draws a revolver from his 
pocket and is ready to shoot at Raymond, taking aim. (FADE 
OUT.) 

SCENE 49 

INT. of balcony at exit curtains. (IRIS IN.) Paul, excited, 
throws curtains back and rushes to Roland in corner, (ANGLE 
SHOT), leaps upon him, heroic rescue of Raymond. After a 
struggle Paul recovers the revolver and holds Roland at its 
point, toward him. Roland runs to Ruth. She is excited, takes 
Roland’s outstretched hand. They (EXIT). Paul laughs, to 
Ray, with hands on hips, thinking, what a coward. 

SCENE 50 

INT. of balcony. Raymond and Paul laughing, Paul with gun in 
left hand. (IRIS IN). They shake hands in thanks. Paul fixing 

I his clothes in order, saying to Ray: 

82. Spoken Title: “I TOLD YOU NEVER TO TRUST THAT FEL¬ 
LOW AS YOUR FRIEND, LONG AGO. HE’S 
CUCKOO.” 

Raymond laughs and replies: 

83. Spoken Title: “YOU WERE RIGHT, PAUL.” 

Paul replies to Ray, handing the gun, “Want this, Ray?” He 
shakes his head, no, in an unconcerned way, and says: 

84. Spoken Title: “I HAVE NO USE FOR IT. KEEP IT AS A 
RELIC OF THE BATTLE.” 

“That’s the boy,” says Paul, slapping Ray on the back and 
saying: 

85. Spoken Title: “I’LL GET THE GIRLS AND WE’LL BEAT IT 
OUT OF HERE.” 

Raymond, fixing his collar unconcernedly, nodding yes. (FADE 
OUT.) 

SCENE 51 

EXT. of taxi, called by Paul, arriving in front of restaurant; 
(FADE IN). Arrival of taxi, driver opens door. (ENTER) 
from taxi: Paul, Hazel, Esther and Raymond, Paul at the arms. 

SCENE 52 

EXT. of Chinese restaurant, (SEMI CLOSE UP) the four of 
them (ENTER) door-way (FADE OUT). 






66 


SCENARIO —“THE CHOSEN PATH' 


SCENE 53 

INT. of Chinese restaurant, (FADE IN), the four, being escorte 
to a private table. (CLOSE UP) the order is taken. Origin* 
comedy by Paul at table. 

86. Sub-title: “PAUL NEVER WAS STRONG FOR TABLE MAN 

NERS, BUT TO BE A GOOD FELLOW, THE SUG 
GESTION OF A TAXI RIDE IS MENTIONED B’ 
HIM, AFTER THE DINNER IS SERVED.” 

SCENE 54 

EXT. of taxi, outside at entrance (IRIS IN) Paul (CLOSE UP j 
winks to the driver and says: 

87. Spoken Title: “DRIVE US TO THE ‘OASIS/ 

The driver laughs, Paul steps in taxi with others. (FADE OUT. 

SCENE 55 

EXT. of “Oasis,” arrival of taxi at door; (NIGHT) (FADE INI 
see taxi on arrival (FADE OUT). 

SCENE 56 

INT. of “Oasis” (IRIS IN) (DISCOVER) player piano, and t 
the wall, slot machines. (DISSOLVE) to table, the four, seate 
and drinking (COLORED DRINKS). Paul gets up from chaii 
goes to slot machine; others remain at table. 

SCENE 57 

INT. of “Oasis” (CLOSE UP) of Paul, at this time feeling ver 
good from drinks, playing slot machine; counting seven to th 
right, each color, before dropping his coin, sometimes winning 
but very few. (IRIS OUT.) 

SCENE 58 

INT. of “Oasis” (CLOSE UP) of table. Raymond, in a grogg; 
way, swinging head, wally eyed. (SEMI CLOSE UP). Esthe 
and Hazel, also at table with Ray. Esther suggests, and says: 

88. Spoken Title: “I’M READY TO GO HOME. ARE YOU 

HAZEL?” 

Hazel replies by nodding yes, and puts on her coat. Esther doe 
the same. (ENTER) Paul, at table, with hand full of nickles 
placing on table, looking especially at Ray and saying: 

89. Spoken Title: “WHAT THE ’ELL. AIN’T WE GOT 

FUN, EH?” 

A laugh follows, also a silly laugh, showing intoxication. 

SCENE 59 

INT. of “Oasis”. (IRIS IN). Girls at door ready to leave. Pau 
helping Ray with his coat, girls laughing at Paul. Ray is read: 
and Paul helps him to walk; shoulder to shoulder they stagge 
to the door, and to the girls Paul says: 

90. Spoken Title: “OUTSIDE. TAXI OUTSIDE. FALL IN.” 






SCENARIO —“THE CHOSEN PATH ” 


67 


SCENE 60 

EXT. of taxi, night scene (CLOSE UP) all getting inside. The 
driver laughs, jumps out, and pushes Paul in after the others. 
He (Paul) doesn’t think he needs help, but he does. The taxi 
drives away. Paul has forgotten his coat. (FADE OUT.) 

SCENE 61 

INT. of taxi, while driving, the four, seated in back, (CLOSE 
UP). Hazel reminds Paul that he has forgotten his coat. He 
replies: 

91. Spoken Title: “I’M WARM. NESHER MIND. I’LL GET IT 

IN THE MORNING.” 

They all laugh at the remark. (FADE OUT.) 

SCENE 62 

EXT. of taxi arriving at curb (IRIS IN). Paul helping the girls 
out of taxi. Esther and Hazel walk toward their home. Paul 
gets back in taxi. (IRIS OUT). 

SCENE 63 

EXT. of girls home. (IRIS IN): Girls waving hands and laugh¬ 
ing to the boys in taxi. (DISSOLVE) to boys in taxi, in reply, 
waving, Paul saying: 

92. Spoken Title: “GOO’ NIGHT: SEE A’-GAIN. 

Paul watching girls. (FADE OUT). 

SCENE 64 

EXT. of taxi, arriving at Raymond’s home, (IRIS IN). Paul 
gets out, with comedy. Helps Ray; he staggers away Paul 
(comedy) slips on step, but gets in, driver laughs. (IRIS OUT). 

SCENE 65 

INT. of Raymond’s home; greeted by mother (IRIS IN) at door. 
Mother says: 

93. Spoken Title: “RAYMOND, MY BOY, WHAT HAS HAP¬ 

PENED?” 

Raymond intoxicated and staggering, looks at mother and says: 

94. Spoken Title: “NOSH’ING, MO’SHER: BUT RUTH THREW 

ME DOWN.” 

Conversation follows, while Mrs. Pohl helps Ray to room. 
(EXIT) Ray thru door, mother locks the door and sits in chair 
near by, thinking deeply. (IRIS OUT). 

SCENE 66 

95. Sub-title: “NEXT MORNING: THE NEWSBOYS ARE 

SELLING PAPERS.” 

“EXTRA, PAPER, ALL ABOUT THE MURDER. 
GET AN “EXTRA” PAPER.” 

INT. same as Scene 65—(SEMI-CLOSE UP): Mrs. Pohl 
hears the boys, runs to the door, getting out of chair half asleep, 
returning with a newspaper, reading it, she goes to Raymond’s 
room; calls to him; he (ENTER) Ray, is shown the paper and 
he reads: 






68 


SCENARIO —“THE CHOSEN PATH” 


96. (INSERT): “EXTRA EXTRA” 

B. E. MORGAN 

MURDERED IN OWN HOME: FOUND B1 
THE BUTLER, WITH REVOLVER NEAR-BY 
DETECTIVES HAVE EVIDENCE: 
“TWO SUSPECTS” WILL BE ARRESTEI 
BEFORE NOON. ROLAND, THE SON, II 
HEIR TO ESTATE. 

SCENE 67 

INT. of Raymond’s home, living room, same, he and mother 
Ray with paper in hand, (IRIS IN) just dropping paper to sid< 
looking to mother; door bell rings. Mother answers door 
(LONG SHOT) of room, (ENTER) two detectives, looking ai 
Ray. 

97. Spoken Title: “WE WANT YOU! HOLD OUT YOUR HANDS’ 
Ray does as told, very much surprised, holding hands out 
stretched, while one detective picks up paper other is placing 
handcuffs, attention is called to paper; the (DETECTIVES) botl 
laugh with suspicion at Ray. As they are ready to leave witl 
Ray, Mrs. Pohl is frantic. She stops them and says: 

98. Spoken Title: “MY BOY! MY BOY! I KNOW YOU ARE 

INNOCENT.” 

She drops to floor exhausted as Ray and police pass out the 
door. Ray, escorted by the arms, walks with head down 
(IRIS OUT). 

SCENE 68 ! 

EXT. of Garage and Taxi’s, in line, (SEMI-CLOSE UP). Paul 
at work on motor of taxi, (ENTER) two detectives, approaching 
shake hands with Paul and cleverly place on hand-cuffs, saying: 

99. Spoken Title: “YOU ARE WANTED FOR THE MURDEE 

OF MORGAN.” 

Paul smiles and looking at hand-cuffs, says: 

100. Spoken Title: “CUT THE KIDDING; TAKE THESE OFF; 

THEY’RE TOO TIGHT. I’M BUSY.” 

Paul looking at police, they state, shaking heads no and laugh, 
saying, “tell it to the judge. Come on while you’re all together.” 
(FADE OUT). 

SCENE 69 

INT. of jail—cells side by side in square corner, (CLOSE UP) 
Paul and Ray looking at each other. Paul says: 

101. Spoken Title: “YOU SAID THE PARTY WOULD BE 50-50; 

IT LOOKS LIKE IT! WHERE ARE THE 
GIRLS?” 

Ray, shaking his head in question to Paul (IRIS OUT). 
SCENE 70 

102. Sub-title: “A JURY HAS BEEN DECIDED UPON. THE 

PROSECUTING ATTORNEY HAS OBTAINED 
ALL EVIDENCE POSSIBLE CONNECTING 
THESE TWO WITH MURDER.” 



SCENARIO —“THE CHOSEN PATH ” 


69 


SCENE 70 

INT. of court room, Judge at bar, attorneys at table, both 
mothers seated behind. (IRIS IN): (ENTER) Ray and Paul, 
at door, handcuffed. Sheriff behind them. They meet their mothers 
and are kissed by them, in a way of expression (PUNCH) 
never to be forgotten by spectators. The boys take their seats 
beside the attorneys for defense. Mothers are seated behind. 
(FADE OUT). 

03. Sub-title: “THE ATTORNEYS FOR DEFENSE HAVE 

I ASKED THAT ALL WITNESSES FOR THE 

STATE BE EXCUSED UNTIL CALLED UPON. 
IN THE WITNESS ROOM. 

SCENE 71 

INT. of witness room, (FADE IN). (VIGNETTE) talking. 

04. Sub-title: “MRS. B. E. MORGAN, ROLAND’S MOTHER 

Mrs.- 

(CLOSE UP) of Mrs. B. E. M., Roland, Ruth and her Mother, 
MRS. BROWN. 

05. Sub-title: “JOHN WHITE, THE BUTLER FOR MORGANS 

Mr.- 

“CARRIE FLANNIGAN, THE COOK FOR MOR¬ 
GANS, 

M- 

(FADE IN) the cook and butler, conversing with smiles. 

(FADE OUT) to Esther and Hazel conversing. (IRIS OUT). 

SCENE 72 

INT. of court room, seated as before, (IRIS IN). 

106. Sub-title: “FIRST WITNESS IS CALLED, THE BUTLER: 
JOHN WHITE. 

(SEMI-CLOSE UP) of attorneys, etc. John in the chair answer¬ 
ing questions to attorneys for the state. Pros. Attorney, to 
John, says: 

L07. Spoken Title: “TELL THE JURY EXACTLY WHAT YOU 
SEEN ON THE MORNING OF THE MURDER 
TWO MONTHS AGO.” 

John beginning to tell the story, moving his hands in description 
of story, (DISSOLVE OUT), to— 

SCENE 73 

INT. of the Morgan Home dining room, Mrs. B. E. M. seated at 
table, morning breakfast, (DISCOVER): Mrs. M. directing the 
butler to call Mr. M. for breakfast, saying: 

108. Spoken Title: “CALL MR. MORGAN, AT HIS ROOM.” 

He turns to do as told. (IRIS OUT). 

SCENE 74 

INT. of Mr. Morgan’s room. (SEMI-CLOSE UP) to the door. 
(ENTER) butler, very amazed as he looks to the floor, and 








70 


SCENARIO —“THE CHOSEN PATH ” 


excited (DISCOVER) Mr. M. lying on the floor. (CLOSE UP) 
butler turns over the body, sees blood on clothes, and the 
revolver near-by. He runs to door way and calls: 

109. Spoken Title: “MRS. MORGAN! PLEASE HURRY, MA’AM.” 
Butler looking out the door, stands by erect as (ENTER) Mrs. 
M. She is amazed and runs to her husband on the floor. Looks, 
excited, wipes eyes with handkerchief and directs the butler to 
call the police: 

110. Spoken Title: “CALL THE POLICE, AT ONCE.” 

(EXIT) in hurry, butler. (FADE OUT). 

SCENE 75 

Same as Scene 72. John in chair, (FADE IN). Prosecuting 
Attorney to John in chair, says: 

111. Spoken Title: “GO ON, CONTINUE THE STORY.” 

(FADE OUT). 

SCENE 76 

INT. of Morgan’s room; Morgan on floor; Mrs. Morgan seated in 
chair near by crying; Carrie Flannigan, cook, and John, the 
butler, also Roland the son present with the police. (SEMI¬ 
CLOSE UP): Police and all looking at the body, one officer. The 
coroner says: 

112. Spoken Title: “HE HAS BEEN DEAD ABOUT FIVE 

HOURS.” 

Police take charge of the Morgan home, and direct all to remain. 
Picking up the revolver, looking with keen eyes at all, especially 
Roland, the detectives say: 

113. Spoken Title: “A MURDER HAS BEEN COMMITTED WITH 

THIS REVOLVER; THE INITIALS ON IT 
READ: “R. M.” IT WILL BE NECESSARY 
TO PLACE ROLAND MORGAN UNDER AR¬ 
REST FOR CRIME.” 

All are surprised and look at Roland, hanging his head he steps 
forward and says: 

114. Spoken Title: “THAT REVOLVER WAS TAKEN FROM ME 

LAST NIGHT BY PAUL WIRT AND RAY¬ 
MOND POHL, WHEN THEY ATTACKED ME 
ALONE.” 

Inspector of police and all others look very surprised. The order 
is then given by the inspector of police. 

115. Spoken Title: “ARREST BOTH MEN AT ONCE.” 

Police then turn to leave in a hurry. Others are released from 
investigation and begin to talk to Roland, in question as to how 
it all happened. The cook and the butler then leave the room by 
the order from Mrs. Morgan. Mrs. M. is seated in a big velour 
chair and Roland at her side trying to comfort her, in grief. 
(FADE OUT). 

SCENE 77 

INT. of court room, same as Scene 72. (FADE IN) John White 
in chair answering questions from prosecuting attorney. Ray 




SCENARIO — “THE CHOSEN PATH” 71 


and Paul looking at each other with much interest and surprise. 
They turn around and smile to their mothers. The smiles are 
returned with content. Attorneys for defense talk privately to 
the boys seated along side of them. Prosecuting attorney turns 
over a piece of paper, continuing to question John on the stand, 
saying: 

16, Spoken Title: “WHAT TIME WAS IT THAT YOU CALLED 
MR. MORGAN THAT MORNING?” 

John in the chair, thinking and rubbing his hands, replies: 

[17. Spoken Title: “ABOUT EIGHT A. M. HE HAD BEEN DEAD 
ABOUT FIVE HOURS.” 

Prosecuting attorney then looks at more important papers, 
saying: 

.18. Spoken Title: “THAT’S ALL.” 

“COUNSEL FOR DEFENSE TAKE THE 
WITNESS FOR CROSS EXAMINATION.” 

John White on the stand, looks at the attorneys in defense. 
They are ready to question, picking up some papers. Ray and 
Paul restlessly move in their chairs. The battle for the lives of 
the accused is on. The prosecuting attorney is seated and ready 
to take notes of the cross examination. One of the attorneys 
for the defense stands up and looks at John on the stand seated 
in the same chair. John is ready to answer the questions. (IRIS 
OUT). (BUST). 

NOTE):— 

“Curtain drops for personal appearance of characters on stage.” 
f desired:— 

See examination of all witnesses. Also the attorney’s plea for 
conviction, and the plea for defense, in the story. Same Court 
room scene as in picture, (SET), on stage. With the entrance 
of each character as called upon to testify, then remaining on 
stage. Addressing the audience as the jury, 
f not desired:— 

The picture may be continued with a follow up of scenes, and 
the sub-titles explaining the case and examination of each 
witness. 

Special:—It is not exactly necessary that a personal appearance 
is made, but to be most effective, as a drawing card for the pro¬ 
duction it may be easily performed as specified in the examina¬ 
tion of witnesses. 

The Motion Picture Scenario is complete, continuing on the fol¬ 
lowing pages. 

SCENE 78 

INT. of court room; Judge at bench, (CLOSE UP) opening the 
verdict, in a slow manner he reads the verdict to all concerned: 
19. Sub-title: “THE TRIAL IS OVER. AFTER THE LONG CON¬ 
SULTATION THE JURY ACQUITS RAYMOND 
POHL AND FINDS PAUL WIRT “GUILTY” OF 
THE CIRCUMSTANTIAL EVIDENCE PRE¬ 
SENTED IN THE INDICTMENT.” 





72 SCENARIO —“THE CHOSEN PATH” 


At this reading all have been very quiet and anxious. Paul turns 
to his mother, embraces her. It is very pitiful to see the ex¬ 
pressions of both. She says: 

120. Spoken Title: “MY BOY, I KNOW YOU ARE NOT GUILTY. 
With tears in his eyes, he replies: 

121. Spoken Title: “NO, MOTHER DEAR, I’M NOT.” 

It is different with Ray and his mother. Very happy greetings 
of emotion are shown to each other. They break, and Ray turns 
to Paul saying: (with extended hand to him) 

122. Spoken Title: “I PROMISE TO FIND THE REAL MUR¬ 

DERER, AND A CONFESSION. I KNOW 
YOU ARE NOT GUILTY, PAUL.” 

They are shaking hands, in sincerity, and the attorneys place 
their hands on the shoulders of both saying: 

123. Spoken Title: “WE WILL CARRY THIS CASE TO THE 

COURT OF APPEALS AND OBTAIN AN 
ACQUITTAL FOR YOU PAUL.” 

They shake hands with the attorneys, while all the witnesses 
have slowly made their (EXIT). Sheriff steps to Paul with hand¬ 
cuffs. (FADE OUT). 

SCENE 79 

EXT. of drug store, Raymond standing outside wondering where 
to go. (CLOSE UP). 

124. Sub-title: “IT HAS BEEN NECESSARY TO FULFILL RAY¬ 

MOND’S POSITION BY SOMEONE ELSE DURING 
HIS MISFORTUNE. KNOWING HOW TO DRIVE 
AN AUTOMOBILE HE DECIDES TO APPLY FOR 
POSITION AS TAXI DRIVER. 

SCENE 80 

EXT. of garage and taxi’s; (SEMI-CLOSE UP): Ray working 
on motor of car, is given a call by phone. He jumps into his 
seat and drives away. (FADE OUT). 

SCENE 81 

EXT. of modern home in B. G. Mrs. Brown and Ruth. (FADE 
IN) as they walk to (SEMI-CLOSE UP) taxi waiting at curb. 
Ray, driving is not seen by them as they enter. (FADE OUT). 

SCENE 82 

EXT. of department store. (IRIS IN) arrival of taxi at en¬ 
trance. (ENTER) Ruth and Mother from taxi, Mrs. B. pays the 
fare. Raymond turns head other way, holding out hand, and is 
not recognized. Ruth and mother walk to store. 

125. Sub-title: “FROM THE CONVERSATION BETWEEN RUTH 

AND HER MOTHER RAYMOND NOW UNDER¬ 
STANDS THAT RUTH IS TO BE MARRIED SOON 
TO ROLAND.” 








SCENARIO — “THE CHOSEN RATH" 73 


SCENE 83 

INT. of dept store at gown dept, (IRIS IN) on, Mrs. Brown and 
Ruth looking over some dresses and a wedding gown, (ENTER) 
the saleslady with another gown. She is having a hard 
time to please Mrs. B. with the clothes Ruth favors. Ruth 
admires this gown very much, Mrs. B. picks at it with a sneer, 
of not being satisfactory. During the action the saleslady makes 
her (ENTER) and (EXIT) in the usual way, as directed, bring¬ 
ing forth many different gowns for selection. While Ruth is 
admiring a gown, (ENTER) Roland. They are pleased, but were 
expecting him. Roland helps to select a gown; it is satisfactory 
and ordered delivered. Roland says: 

26. Spoken Title: “I HAVE SELECTED A SURPRISE PRESENT 

FOR YOU.” 

Ruth begins to wonder what it can be. Mrs. Brown is also 
interested. Ruth looks to Roland and says: 

27. Spoken Title: “WHAT CAN IT BE?” 

Roland replies with a smile: 

28. Spoken Title: “COME WITH ME AND I’LL SHOW YOU.” 
The three walk away from the dept, slowly. The saleslady is 
pleased that they are finally leaving. (IRIS OUT). 

SCENE 84 

INT. of auto salesroom, (IRIS IN), Automobile in (B. G.), Ruth, 
her mother, Roland, and auto salesman standing looking at car 
to be purchased. Ruth and mother are very pleased, and admire 
the auto (a coupe). They look to Roland with the pleasing ex¬ 
pression of,—how nice of him to do this for them before the 
marriage. Ruth says: 

29. Spoken Title: “THIS CERTAINLY IS A WONDERFUL SUR¬ 

PRISE. IT IS LOVELY OF YOU TO OFFER 
SUCH AN ELABORATE PRESENT.” 

Roland surely has captured Ruth now. Both Ruth and mother 
get in the car, Ruth at the wheel, admiring it very much, while 
Mrs. Brown sits in it, very haughty, and proud of herself. Roland 
makes out the check for payment. The salesman accepts it, 
thanking Roland. Roland then turns his attention to the car. 
(IRIS OUT). 

30. Sub-title: “THREE DAYS HAVE PASSED SLOWLY FOR 

ROLAND. THE WEDDING DAY ARRIVES.” 

SCENE 85 

INT. of church, with flowers in the aisle, (IRIS IN), On, Ruth 
and Roland are now married and passing out the aisle, arm in 
arm, looking at each other, walking slowly to the door. Friends 
and relatives watching with admiration. Mrs. Morgan and Mrs. 
Brown following. (IRIS OUT). 

SCENE 86 

EXT. of church, canvas canopy over sidewalk to street, (IRIS 
IN): (ENTER to car: Ruth, Roland, under rice shower from 
friends. (EXIT); (ENTER) another car at canopy for others, 
etc. (FADE OUT). 







74 


SCENARIO —“THE CHOSEN PATH” 




131. Sub-title: “ALL PREPARATIONS HAVE BEEN MADE FOR 

THE HONEYMOON. NO TIME IS LOST BY 
THEM.” 

SCENE 87 

EXT. of station, people arriving and going, (IRIS IN): (DIS¬ 
COVER) Roland and Ruth alighting from car, “auto.” (SEMI¬ 
CLOSE UP) she glances to her right, hurrying to train; speaks 
and waves hand. (ANGLE SHOT), to Raymond seated in taxi, 
tipping hat and speaking; (IRIS OUT). 

SCENE 88 

Roland and Ruth, (ACTION) entering train, smiling to each 
other; as train leaves, (FADE OUT). 

132. Sub-title: “THAT EVENING RAYMOND RECEIVES A CALL 

TO THE “OASIS.” 

SCENE 89 

INT. of “Oasis” down stairs. (IRIS IN). (ENTER) Ray at 
door, standing near door, with loud voice says: 

133. Spoken Title: “TAXI FOR MR. WOLFE.” 

No reply he walks on inside and goes upstairs. (IRIS OUT). 

SCENE 90 

INT. of “Oasis” up-stairs. (IRIS IN). Many men are gambling 
at tables, large tables, all games; Roulet, etc. (ENTER) Ray, 
calling: 

134. Spoken Title: “TAXI FOR MR. WOLFE.” 

No reply, Ray walks over to watch the gambling. (CLOSE UP) 
Conversation between two men at same table; one says: 

135. Spoken Title: “THAT IS A LUCKY CORNER FOR WIN¬ 

NING. MORGAN STOOD THERE THE 
NIGHT HE BROKE “BEN WOLFE.” A TAXI 
DRIVER GOT HIM AND MONEY.” 

All eyes turn to Raymond with suspicion, and question. He 
walks away, shows no emotion, of excitement, the game is 
resumed. Ray calls: (Looking around). 

136. Spoken Title: “TAXI FOR “BEN WOLFE.” 

SCENE 91 

INT. of “Oasis” upstairs, at a table alone with head lying in 
arms. (On) Ben Wolfe, raising head, in a groggy way, says: 

137. Spoken Title: “HERE TAXI, HERE I AM. TAKE ME 

HOME.” 

138. Sub-title: “BEN WOLFE” A GAMBLER BUT A HARD 

LOSER AND DRINKER. 

MR..I 

SCENE 92 

EXT. of Ben’s apartment, arrival of taxi. (IRIS IN). Ray gets 
out, opens the door. Ben fumbling to get out; Ray helps, and it 
is necessary to help him to his room; at door (IRIS OUT). 





SCENARIO —“THE CHOSEN PATH” 


75 


SCENE 93 

INT. of Ben Wolfe’s room (just a hotel room), (SEMI-CLOSE 
UP), Ray is helping him to remove his coat, etc. Ben looks to 
Ray in a groggy way, lying on the bed in an intoxicated condi¬ 
tion, saying and pointing to wardrobe: 

39. Spoken Title: “GET MY BATHROBE.” 

Raymond walks toward the clothes press, puts his hand on the 
door and opens calmly, showing no emotion of excitement. 

SCENE 94 

INT. of clothes press, at door, (IRIS IN), —(CLOSE UP), as it 
is opened by Raymond with much excitement. Raymond looks 
closely and sees hanging near the bathrobe, Paul’s coat with the 
button torn off. Ray grabs the coat, also the bathrobe, which he 
throws over Ben’s face lying on the bed. Ray wheels around like 
a flash and runs out the door with Paul’s coat under his arm. 
(FADE OUT.) 

SCENE 95 

INT. of office at Police Station; (FADE IN), On, Raymond and 
Detectives talking about the evidence. Raymond has the coat 
in his arm showing the button torn off. The detectives then 
turn in a hurry and give orders to the auto crew, to advance at 
once for their prisoner, accused. (IRIS OUT). 

SCENE 96 

EXT. of Police Station, (IRIS IN), the door opening and the 
patrol driving out the door. (IRIS OUT). 

140. Sub-title: “TRUE TO HIS WORD, RAYMOND HAS FOUND 
A CLEW TO THE MURDER OF B. E. MORGAN.” 
“BEN WOLFE IS NOW ARRESTED AND CON¬ 
FESSES.” 

Same Scene as 95 

INT. of office at police station; (IRIS IN), On, Ben seated in a 
chair with his head dropping. Raymond is present with the 
police, looking toward Ben. (DISSOLVE to (VIGNETTE) of 
Ben hanging his head, in preparation of the confession he is 
about to make. (FADE OUT), as he begins to speak, to the 
police. 

SCENE 97 

INT. of “OASIS” upstairs in gambling den. (FADE IN), Ben 
Wolfe telling the confession, gambling at a table with B. E. 
Morgan in large sums of money. Others at the table see Ben 
go broke, playing his watch, etc. Ben loses. He then leaves the 
table a hard loser. Morgan is still playing with others at the 
table, standing in a lucky corner as others call it. (P. S.—This 
corner is mentioned in Scene 90). 

SCENE 98 

INT. of “OASIS”—down stairs. (SEMI-CLOSE UP) On, Ben, 
entering very down-hearted. He looks at a chair, sees a coat, 





76 


SCENARIO —“THE CHOSEN PATH ” 


walks toward it and picks it up. (It was Paul’s coat, that he 
had forgotten the same night). Ben trys it on, it fits. He places 
his hands in the pockets and discovers in one pocket a revolver; 
bringing it forth, he looks at it and examines the handle, (DIS¬ 
SOLVE) to (VIGNETTE) of the revolver showing the initials 
(R. M.) on the handle. (IRIS OUT). 

SCENE 99 

EXT. of “Oasis,” at entrance, (IRIS IN). Ben walking in a 
hurry toward an automobile. He steps behind it and places a 
handkerchief over his face to hide his identity. Then looks to¬ 
ward the entrance of the “Oasis” and sees (ENTER) B. E. 
Morgan. He walks, leaving the entrance along side of the 
house, and is approached by Ben, saying: 

141. Spoken Title: “HANDS UP! BE QUICK!” 

Morgan was quick to respond, but not to the advantage of Ben. 
Standing close to him Morgan raises his hands, then lands a 
powerful blow upon Ben’s cheek, which sends him to the ground. 
Morgan then rushes toward him in a fighting spirit (IRIS OUT). 

SCENE 100 

EXT. of “Oasis,” on one side in. (IRIS IN) Ben lying on the 
ground, in a very excited manner and pointing the revolver. 
He fires. (IRIS OUT). 

SCENE 101 

EXT. of “Oasis” on one side. (CLOSE UP) of Morgan drop¬ 
ping to ground. (ENTER) Ben walking toward Morgan in a 
careful way. Seeing his condition, Ben helps Morgan to a car, 
nearby. Places Morgan in the back of it, then jumps into the 
seat, behind the wheel, and starts the car in motion (IRIS OUT). 

SCENE 102 

EXT. of automobile, Ben at wheel. (IRIS IN), Ben very ex¬ 
cited, shifting the gears from second to third, and turning the 
wheel, (CRANK-10) as he drives away in a hurry (IRIS OUT). 

SCENE 103 

INT. of police station, same as Scene 96. (DISSOLVE) to 
(VIGNETTE), of Ben telling his confession, with his eyes en¬ 
larged showing emotion of excitement and guilt. (DISSOLVE 
OUT) to: 

142. Spoken Title: “I DROVE LIKE WILD, BUT STOPPED ONCE 

TO GET HIM SOME WATER. HE THEN 
GAVE ME THE KEYS TO HIS HOME. 

SCENE 104 

EXT. of wonderful home in (B. G.) Morgan’s home (DISSOLVE 
IN) Arrival of auto, Ben driving, Morgan in the back, half un¬ 
conscious, the auto comes to a stop in front of this home. (IRIS 
OUT). 




SCENARIO —“THE CHOSEN PATH” 


77 


SCENE 105 

INT. of the Morgan home, at door—the reception hall. (IRIS 
IN), Ben still wearing Paul’s coat. (CLOSE UP), Ben helping 
Morgan in the house. Morgan hanging on Ben’s neck, as they 
walk toward the stairs. At the foot of the steps Morgan drops 
to floor. Ben places the keys in his pocket, then the revolver in 
another pocket of Morgan’s. Morgan tries to talk but he is too 
weak. Then grabs toward Ben, getting a button from the coat, 
he clinches it in his hand. Ben is frightened, whirls around and 
runs. (EXIT) Ben at door. Morgan begins to crawl up the 
stairs, one by one. (IRIS OUT). 

1,143. Spoken Title: “NEXT MORNING. THE NEWSPAPERS HAD 
A HEADLINE ABOUT THE MURDER.” 

“IT WAS THE OWNER OF THIS COAT THAT 
WAS ACCUSED. BUT IT WAS I WHO IS 
GUILTY. NOW MY CONSCIENCE IS AT 
LAST CLEAR. I AM GUILTY.” 

SCENE 106 

INT. of office at Police Station. (IRIS IN) On, Ben seated in a 
chair, detective stepping forward to him with paper in hand, 
placing it in the hands of Ben. A table is near, along side of 
the chair Ben is sitting in. He signs the paper, then drops head 
in weakness. Raymond has seen and heard it all. He smiles 
with the thought of freeing Paul. Then steps toward a detective 
and talks about Paul being freed. Another detective places the 
handcuffs about Ben and escorts him out. The detective Ray¬ 
mond is talking to also leaves at the same time.(IRIS OUT). 

SCENE 107 

INT. of police office, same as 106. (IRIS IN) On, Ray walking 
back and forth across the room, very impatient and anxious. 
(ENTER) Paul on the run toward Raymond, with an air of 
freedom and outstretched hand to him. Raymond turns around 
and runs toward Paul. They meet with a very emotional hand¬ 
shake, and place their left hands on each other’s shoulders. Ray¬ 
mond with a big smile, Paul with a smile of gratitude, and 
feeling very grateful for the service and help given by Ray. 
Paul takes a deep breath and says: 

144. Spoken Title: “YOU HAVE BEEN A WONDERFUL PAL.” 
Raymond smiles in thanks of the remark, and brings forth a 
package of cigarettes, saying: 

145. Spoken Title: “HAVE A SMOKE AND GET OUT OF HERE. 

YOU’RE FREE. BEAT IT BEFORE THEY 
THINK IT A MISTAKE. YOU’RE MOTHER 
IS WAITING FOR YOU.” 

Paul grabs Raymond by the hand and pulls him along. They 
make a hurried (EXIT). (IRIS OUT). 

SCENE 108 

EXT. of taxi, while in motion. Ray at the wheel. (CLOSE UP). 
Paul seated alongside of him saying, as they are driving: 





78 


SCENARIO —“THE CHOSEN PATH ,} 


146. Spoken Title: ‘'LET’S HAVE A DRINK, RAY.” 

Raymond replies, glancing to Paul: 

147. Spoken Title: “NOTHING DOING. WE HAD ONE CLOSE 

CALL FOR THE CHAIR.” 

Paul, blinking his eyes, thinking in seriousness, says: 

148. Spoken Title: “THAT’S RIGHT. BE D-- NOW IF I TAKE 

A CHANCE ON POISON MOONSHINE.” 

They continue driving onward. Ray laughs to Paul as he brings 
the car to a stop, in front of Paul’s home. (IRIS OUT). 

SCENE 109 

INT. of Paul’s home (poorly furnished). (IRIS IN) On, Mother 
sitting in chair reading, and rocking in comfort. (ENTER), 
Paul, tip-toeing toward mother. She does not hear—continues 
reading—Paul now behind her places his hands over her eyes. 
Mother is surprised and feels of hands with thought of who it is. 
Finally it comes, it is Paul’s hands. She arises from chair in a 
slow, old-fashioned way, turns around and sees Paul. With joy 
from her heart she embraces her son, saying: 

149. Spoken Title: “I KNEW GOD WOULD BRING YOU BACK 

TO ME, MY BOY.” 

Paul then replies with a feeling of freedom: 

150. Spoken Title: “I JUST CAME HOME WITH RAY, THE 

CLEVER DEVIL.’* 

They laugh while embracing each other very happily. (IRIS 
OUT). 

151. Sub-title: “MOST ALL OF US ADVANCE IN LIFE AS TIME 

PASSES. CHANGES WILL OCCUR; SOME ARE 
GOOD AND SOME ARE BAD.” Four years later. 

SCENE 110 

INT. of Roland’s home (elegantly furnished), living room, (IRIS 
IN), On, Roland and Ruth, seated in velour chairs with comfort, 
reading to themselves. Roland interested only in his book, and 
not interested in Ruth. Ruth looks up over the top of her book 
at Roland, then resumes her reading, as Roland turns his back 
to her in disgust. (IRIS OUT). 

SCENE 111 

INT. of kitchen, at the Morgan home (very neat), (IRIS IN) On, 
Carrie Flannigan at work, cooking meal. (ENTER) Mrs. B. E. 
Morgan, walking toward Carrie, saying: 

152. Spoken Title: “HAVE YOU SEEN ROLAND JUNIOR?” 
Carrie answers while at work, shaking her head “No.” 

153. Spoken Title: “NO, MUM. I’VE NOT; TO BE SURE.” 

Both then walk toward the pantry door in a hurry, hearing a 
noise. 




SCENARIO —“THE CHOSEN PATH” 79 


SCENE 112 

INT. of pantry, at the Morgan home. (ON) Roland Junior, three 
years old, hanging to a shelf. Broken dishes on the floor and 
chair turned over. 

154. Sub-title: “ROLAND JUNIOR MORGAN; FULL OF TRICKS 

THAT OTHER YOUNGSTER’S DO NOT THINK 
OF.” Master- 

(ENTER), While Junior is hanging to the shelf, Mrs. B. E. Mor¬ 
gan and Carrie, the cook, very excited, see that a chair has 
slipped from under Junior while he was reaching for the cake 
upon a high shelf. Carrie rushes to the rescue, helping Junior 
down to the floor and trying to step over the broken dishes and 
cake that Junior has knocked down. Grandma Morgan looks to 
Junior, shaking her finger at him and saying, while Carrie begins 
to sweep the floor: 

155. Spoken Title: “RUN TO YOUR MOTHER, AND STAY OUT 

OF THIS KITCHEN.” 

Junior runs at the instructions from Grandma and she places her 
hands upon her hips, thinking what a bad boy he is. 

SCENE 113 

INT. of living room of Morgan home (elegantly furnished). 
(IRIS IN) Ruth at phonograph, beginning to play a record. 
Roland still reading and paying no attention whatever to Ruth. 
(ENTER) little Junior, on the run to his father, while reading. 
No attention is given to Junior until he pulls father’s coat. 
Roland then looks at him over the book and says: 

156. Spoken Title: “RUN TO YOUR MOTHER. DON’T TROUBLE 

ME.” 

Junior runs to his mother (Ruth), at the phonograph. She turns 
to him, taking him into her arms, caressing, and pointing to the 
music from the phonograph. (FADE OUT). 

SCENE 114 

EXT. on street, hotel in B. G. (IRIS IN), Paul at work, polish¬ 
ing an old automobile, trying hard to make it shine. Signs on 
the front, sides and back reading, “FOR HIRE.” A customer 
approaches and (ENTER) customer stepping into the open door 
of taxi and seating himself. Paul has seen him, you bet. He 
jumps into the front seat at the wheel, and tries to start the 
motor. The customer speaks. 

157. Spoken Title: “HURRY! MY TRAIN LEAVES IN TEN 

MINUTES.” 

Paul is in a hurry to start his car, but it won’t start. The cus¬ 
tomer gets angry. Steps out of the taxi, looking at Paul in 
disgust and takes another taxi in back of Paul. It is new and 
starts off on the moment. Paul watches it start off. Paul looks 
at his auto in disgust and begins to work on the motor instead of 
making it shine. (IRIS OUT). 







80 


SCENARIO —“THE CHOSEN PATH” 


158. Sub-title: “PAUL WAS INSPIRED TO HAVE A TAXI BUS! 

IESS OF HIS OWN. TO ADVANCE HIMSELI 
LIKE RAYMOND POHL, WHO NOW OWNS A 
DRUG STORE.” 

SCENE 115 

INT. of Raymond’s Drug Store. (IRIS IN) On, Esther anc 
Hazel are employed there and at work arranging the shelves and 
talking to each other. Esther says: 

159. Spoken Title: “I WAS LATE FOR WORK THIS MORNING 

BUT RAYMOND NEVER TELLS ME ABOUT 
IT.” 

Hazel replies to Esther, while at work: 

160. Spoken Title: “IT IS NOT RIGHT TO TAKE ADVANTAGE 

BECAUSE HE IS CONSIDERATE.” 

Esther feels half insulted at the remark from Hazel. They con¬ 
tinue to work. Esther taking time to look into a mirror and 
to use her powder puff. Then throws it away after looking at 
it and reaches into the case, taking another and using it. Hazel 
does not see her do this. And Esther has no intention that she 
should be seen. (IRIS OUT). 

SCENE 116 

INT. of Raymond’s new home (nicely furnished). (IRIS IN) 
On, Raymond and his mother. Ray seated in a big velour chair, 
reading in comfort. Putting the book down he looks at his 
watch, then arises, glancing to his mother seated in a comfor- 
able big chair. He says: 

161. Spoken Title: “I SUPPOSE OUR FRIEND, MRS. WIRT, WILL 

BE HERE TODAY AS USUAL TO KEEP YOU 
COMPANY.” 

They both laugh; mother replies: 

162. Spoken Title: “YES, MRS. WIRT IS COMPANY FOR ME.” 
Raymond then replies, as he walks towards the door: 

163. Spoken Title: “PAUL AND I CERTAINLY HAVE BEEN 

PALS. AND I’M PLEASED YOU HAVE 
SOME ONE TO KEEP YOU COMPANY, 
WHILE I AM AT THE STORE.” 

Raymond takes his hat, lying upon a table. Mrs. Pohl walks 
toward a window and looks out. Raymond is ready to leave and 
bids his mother good-bye. (IRIS OUT). 

SCENE 117 

INT. of Raymond’s home, living room, same as No. 116. (IRIS 
IN) On, Mrs. Pohl walking from window after waving her hand. 
(ENTER) at door Mrs. Pohl admitting Mrs. Wirt, they meet with 
the usual smile. Mrs. W. takes off her wraps and seats herself 
in a comfortable chair for the afternoon chatter, between the 
two. Mrs. Wirt says: 



SCENARIO —“THE CHOSEN PATH” 


81 


34. Spoken Title: “I WISH PAUL WOULD BE MORE SUCCESS¬ 
FUL WITH HIS TAXI. IT ONLY WORKS AT 
TIMES, AND HE HAS INVESTED ALL OF 
HIS SAVINGS IN IT.” 

Mrs. Wirt continues to make herself comfortable and the con¬ 
versation, etc., is continued between them. (IRIS OUT). 

SCENE 118 

EXT. of Fire Department (IRIS IN) leaving station, to answer 
a call (IRIS OUT). 

SCENE 119 

EXT. on corner, “Dangerous” Crossing (LONG SHOT); the ap¬ 
proach of Fire Department; one street. (ANGLE SHOT), the 
approach of Paul in taxi, crossing street. 

SCENE 120 

EXT. of dangerous crossing; the accident; Paul has passed in 
front of Fire Department and (DOUBLE EXPOSURE) the back 
end is hit by fire truck; it drives onward (IRIS OUT). 

SCENE 121 

EXT. on corner, the taxi on sidewalk, wrecked (SEMI-CLOSE 
UP). Arrival of ambulance, Paul is taken from the wreckage, 
and placed inside on stretcher (EXIT) ambulance, and see the 
taxi turned over (IRIS OUT). 

SCENE 122 

EXT. of Paul’s home, firemen at work (IRIS IN). Arrival of 
ambulance, with Paul, in front of house, (ENTER) Mrs. Wirt; 
sees home burning, is frantic, sees ambulance, is more frantic, 
goes to it and says: 

S65. Spoken Title: “WHO IS INJURED?” 

The ambulance driver replies: 

66. Spoken Title: “A YOUNG MAN, PAUL WIRT, AND THAT 

IS HIS HOME.” 

Mrs. Wirt closes eyes, as if to faint, takes hold of ambulance, 
looks at driver, and says: 

67. Spoken Title: “HE IS MY BOY.” 

Driver opens the back and Mrs. Wirt enters, the door is closed, 
driver runs to front seat; they go (EXIT). The home is still 
burning (IRIS OUT). 

68. Sub-title: “MRS. WIRT, NOT HAVING OTHER FRIENDS, 

DIRECTS THE AMBULANCE TO DRIVE TO 
MRS. POHL’S HOME. MRS. POHL IS PLEASED 
TO BE OF SERVICE TO HER FRIENDS. 

SCENE 123 

INT. of Pohl’s home, living room (IRIS IN). Raymond is talk¬ 
ing to mother, she is telling him of the misfortune their friends 
have had and that Paul is upstairs. Ray, very surprised, turns 
and runs, mother also walks away (IRIS OUT). 






82 


SCENARIO —“THE CHOSEN PATH ” 


SCENE 124 

INT. of bed room, Paul in bed, sitting up with smiles all ovt 
(IRIS IN) (ENTER) Ray at door, Paul speaks with thanks; Mr; 
Wirt excuses herself, (EXIT) out door. Ray at the bedside c 
Paul, talking, says: 

169. Spoken Title: “I AM THANKFUL TO HAVE A HOME T< 

OFFER YOU, PAUL. IT WOULD BE FIN 
OF YOU AND YOUR MOTHER TO MOV 
HERE WITH US.” 

SCENE 124 

Paul looks to Ray and laughs, as he says: 

170. Spoken Title: “WE HAVE NOTHING TO MOVE. HERE W] 

ARE.” 

The smile on Paul’s face is turned to sorrow and disappointment 
saying to Ray: 

171. Spoken Title: “I SURE BOUGHT A LEMON OF AN AUTC 

I’LL BET THERE IS NOTHING BUT THJ 
SKIN NOW, AND THAT WAS READY T< 
PEEL.” 

A laugh from both follows, to each other; Paul says: 

172. Spoken Title: “THE JUICE WAS SOUR, ANYHOW.” 

Paul decides to get out of bed, feeling alright, and saying, a 
he is ready to arise: 

173. Spoken Title: “I WASN’T HURT. JUST PUT TO SLEEP 

BUT I HAD SOME DREAM—SIX TAXIS AN! 
DRIVERS WORKING FOR ME. EVERT 
THING WAS FINE UNTIL I WOKE UI 
NOW GET ANOTHER JOB.” 

Raymond and Paul shaking hands, Paul out of bed; Ray says 

174. Spoken Title: “I’LL SEE THAT YOUR DREAM COME! 

TRUE AND SECURE A LOAN LARG1 
ENOUGH FOR YOU TO START IN BUSI 
NESS.” 

Still shaking hands, with all seriousness, of Ray; Paul looks i 
wonder at the statement, trying to think (EXIT) Ray, Par 
standing without a word watching Ray. (IRIS OUT). 

SCENE 125 

INT. of same bedroom (FADE IN), Paul in room alone, hears , 
noise, walks to the window and sees, waving hand. 

SCENE 126 

EXT. on the street (IRIS IN), wrecking truck, towing Paul’s ol 
taxi (SEMI-CLOSE UP) of same. (IRIS OUT). 

SCENE 127 

INT. as in Scene 125. (IRIS IN) Paul at window still wavinj 
hand, throws a kiss, and says: 

175. Spoken Title: “GOOD-BYE, YOU OLD SEEDS OF A 

LEMON.” 






83 


SCENARIO —“THE CHOSEN PATH ” 


Paul walks from window to dresser, pinches himself, hits head 
and nose with finger, and decides to be alive; he picks up a 
comb, lays it on the dresser, and forming a line, picks up a 
brush, ash tray, pin cushion, book, and fountain pen, all are laid 
in one line like a parade, he looks at them (DISSOLVE OUT). 

SCENE 128 

I EXT. on street of six taxis (ANGLE SHOT), Paul standing look¬ 
ing at them, (DISSOLVE IN) Paul is instructing one of the 
drivers to make a call, the driver goes (EXIT) one taxi. Paul 
turns to a phone nearby. 

|176. Sub-title: “THE SUPPOSITION HAS MATERIALIZED. 
PAUL NOW HAS A TAXI BUSINESS.” 

SCENE 129 

EXT. on street of five taxis (IRIS IN). Paul at the phone, 
hangs up, turns to one of his drivers, instructing him to take 
care of the affairs; Paul gets in taxi (IRIS OUT). 

SCENE 130 

177. Sub-title: “LIFE IS A MYSTERY. DO WE NOT MAKE OUR 
OWN MYSTICAL SURROUNDINGS THAT PER¬ 
TAIN TO LIFE? SOME ARE HAPPY; SOME 
SORROWFUL. 

INT. Roland’s home, elegantly furnished, living room (IRIS IN). 
Ruth and Roland has had a quarrel, Roland, seated, jumps up 
from chair, throwing book on floor, and saying: 

178. Spoken Title: “I NEVER DID CARE FOR YOU, RUTH, AS 
I ONCE THOUGHT.” 

Laughing in a mean, contemptible way, he turns for his hat and 
coat, brought to him by the butler. He throws' his coat over 
arm, puts on hat, and looks at Ruth, sitting in a chair, looking 
to the floor, sighing and thinking. Roland laughs: 

1179. Spoken Title: “TAKE CARE OF JUNIOR.” 

Roland walks out (EXIT) Roland. Ruth takes Junior in her 
arms, saying: 

180. Spoken Title: “I HAVE YOU, JUNIOR, FOREVER.” 

SCENE 131 

EXT. of taxi on street (IRIS IN). The taxi has arrived at the 
entrance of an apartment house, (EXIT) Roland from taxi, 
Paul in front seat, watches Roland as he walks into the door, 
with hat on side of head and staggering to a small extent from 
side to side, he enters door (EXIT). ROL. (CLOSE UP) of 
Paul sitting in taxi still watching, with surprise. Scratching 
his head, thinking, he says: 

1181. Spoken Title: “WELL, I’LL BE D-. DIDN’T EVEN PAY 

ME.” 

Paul jumps out of taxi, and runs toward the apartment (IRIS 
OUT). 





84 


SCENARIO —“THE CHOSEN PATH ” 


SCENE 132 

INT. of apartment house at door of one apartment, Paul knock 
ing on door (CLOSE UP); Esther Stover opens the door, is ver; 
surprised to see Paul. He, too, is surprised, and says: 

182. Spoken Title: “WELL, HELLO ESTHER; LIVING SWELI 

EH?” 

“ASK MR. MORGAN IF THE TAXI SHOUL1 
WAIT, OR PAY NOW?” 

Esther says nothing but closes the door (EXIT) Esther. Pan 
looks around to the sides, in wonder, still waiting at the dooi 
(ENTER) Esther opening the door and handing Paul the money 
He replies: 

183. Spoken Title: “GEE, YOU HAVE CHANGED.” 

The door is slammed in his face, with speed; Paul laughs an< 
stoops over to the keyhole. (IRIS OUT). 

SCENE 133 

INT. at door, same (MAT) keyhole, Paul peeping through 
(CLOSE UP), (IRIS OUT). 

SCENE 134 

INT. at door, same (SEMI-CLOSE UP), the door is opened, a 
quick as it was closed, showing Paul still peeking; Esther jus 
stands looking, very mean. Paul gradually looks up and see 
Esther, watching him. He stoops again, very embarrassed a 
being seen. Esther, still watching, Paul is looking on the floo 
as if to be looking for something he had lost, and continues i: 
same position, making way toward door. He does find a cuff 
link, picks it up; the door is closed (IRIS OUT). 

SCENE 135 

INT. of Raymond’s drug store (IRIS IN). Hazel at work, be 
hind counter. (ENTER) Ruth with Junior. He runs to Ray 
mond, with his back turned, fussing around, like an owner. Junio 
calls to him, Ray turns around, picks him up, speaks to Rutl 
being waited upon by Hazel, and walks around the store showin; 
all the different articles on the shelf. Walking toward cand: 
case, opening it and giving Junior a box of chocolates. Junio 
thanks him; they walk to Ruth, near the door. (IRIS OUT). 

SCENE 136 

INT. of Drug Store (CLOSE UP). Raymond, Ruth and Junio] 
Ray and Ruth talking, Junior gets away and goes around th 
store, by himself; (ENTER) Paul, all smiles, for Hazel, bu 
stops to talk to Ray and Ruth, saying: 

184. Spoken Title: “I’M HALF LUCKY. IF EITHER OF YOl 

FIND THE MATE TO THIS CUFF LINK, PL! 
WEAR THEM FOR LUCK.” 

Showing the cuff link to them, they look at it. Ruth is very sui 
prised, and says: 

185. Spoken Title: “WHERE DID YOU FIND IT?” 

Paul answers; Ray is interested; Ruth waiting the answer: 




SCENARIO —“THE CHOSEN PATH ’ 


85 


36. Spoken Title: “IN AN APARTMENT, WHERE I DROVE— 

OH, YES—DROVE A PATRON.” 

Ruth, then very interested, says: 

37. Spoken Title: “PROBABLY I CAN FIND THE MATE. IT 

LOOKS LIKE ONE OF ROLAND’S. 

Paul, then very angry, remembering Roland and handing the 
cuff link to Ruth, says: 

88. Spoken Title: “TAKE IT. I’M SURE I DON’T WANT THE 
MATE, NOW. AND I MIGHT BE MISTAKEN 
AS TO WHERE IT WAS FOUND, TOO.” 
Ruth has the link in her hand; Paul excuses himself, and walks 
to Hazel in the rear of the store; (EXIT) Paul. 


SCENE 137 

INT. of drug store (CLOSE UP) Paul and Hazel talking suavely 
and everything lovely with pleasant smiles to each other. (IRIS 
OUT). 


89. 


i.90. 


191. 


192. 


193 . 


SCENE 138 


INT. of Drug Store, articles on shelf in B. G. (SEMI-CLOSE 

UP) Ray and Ruth still talking, looking toward Paul and Hazel. 

Raymond says: 

Spoken Title: “IT LOOKS SERIOUS BETWEEN HAZEL 
AND PAUL. LATELY HE NEVER MISSES 
A DAY TO COME IN AND TALK TO HER. 
AND A NEW HOME IS BEING BUILT IN 
THE NEW ADDITION FOR HIM.” 

Ruth replies, with a smile, to Raymond: 

Spoken Title: “PROBABLY THEY ARE ENGAGED, AND 
WILL BE MARRIED SOON. IF THEY ARE, 
I HOPE THEY WILL BE MORE HAPPY 
THAN I.” 

Ray, with surprise, says: 

Spoken Title: “RUTH, YOU SHOULD BE HAPPY, WITH 
THE WEALTH YOU HAVE.” 

She replies, with a sigh of discouragement: 


Spoken 


Title'“I’M NOT. I HAVE EXPERIENCED THAT 
WEALTH DOES NOT ALWAYS BRING HAP¬ 
PINESS TO ALL.” 


Ruth sobs a sorrowful expression to Raymond, and he is at at¬ 
tention, wondering if it could be possible. Ruth looks up into 
his eyes, with love, saying, and showing the cuff link: 


Spoken Title: 


“I HAVE MADE A MISTAKE IN MARRIAGE, 
AND DO BELIEVE THIS CUFF LINK WAS 
FOUND WHERE IT SHOULD NOT BE. I 
HAVE EVIDENCE THAT ROLAND IS NOT 
DOING RIGHT BY HIS SON OR MYSELF.” 


Bowing her head as she says this to Raymond, who is at all 
times ready to offer sympathy to Ruth, he replies: 




86 


SCENARIO —“THE CHOSEN PATH 


194. Spoken Title: “I AM SORRY. HE SHOULD BE PROUD OF 

YOU AND JUNIOR.” 

Ruth, with tears in her eyes, is at question. Little Junior takes 
her by the hand, looks at Raymond, takes him by the hand and, 
placing the box of candy under his arm, takes Ray by the hand 
and the three walk to the door; turn around and see, as they 
laugh (Preparing to Exit) with hand on door. 

SCENE 139 

INT. of Drug Store, in rear. (CLOSE UP) of Paul and Hazel, 
talking undisturbed, by themselves, Paul trying to hold her hand. 
She is telling him to stop (IRIS OUT). 

SCENE 140 

INT. of Drug Store (SEMI-CLOSE UP). Ruth and Ray and 
Junior, standing by the door, looking at Paul and Hazel, still 
laughing; Raymond opens the door, inviting them to call again, 
saying good-bye to both as they (EXIT). Raymond closes the 
door, with a smile of contentment, and returns to a place behind 
the counter, preparing to change some of the advertising matter 
in his store. (IRIS OUT). 

SCENE 141 

INT. of Roland’s office. Roland looking over some papers, 
(DISCOVER) Roland at desk, very disinterested in papers; 
throws them in a drawer, unconcerned, and brings forth a pic¬ 
ture, looking at it admiringly, (DISSOLVE) to (VIGNETTE) 
of picture of Esther, full view of frame and photo. 

SCENE 142 

INT. of Roland’s office, same as Scene 141. (LONG SHOT) 
Roland still looking at picture. (ENTER) Esther at door. 
Standing in the doorway, dressed like a bird with fine feathers. 
Roland looks, glances toward the door and sees Esther. He 
invites her to come in. She accepts with pleasure. Her walk 
has changed from the past to that of a somewhat vampire atti¬ 
tude. Approaching Roland she places her arms upon his shoul¬ 
der as he is counting over many dollars in paper money, handing 
it to her. She bends over and kisses him. (Some kiss, too), just 
like a vampire might put it over. (IRIS OUT). 

SCENE 143 

INT. of Roland’s office, same scene. (IRIS IN), (CLIMAX), 
Roland and Esther at kissing. (ENTER) at door, Ruth and 
Junior, by surprise, seeing the occurrence. Junior not knowing 
what it means runs to his father. 

195. Spoken Title: “DADDY, I HAS NOT SEEN ’OU FOR A 

LONG TIME.” 

Roland is very much surprised at the appearance of Ruth and 
little attention is given to Junior. Roland stands up, very im- 



SCENARIO —“THE CHOSEN PATH ” 


87 


portant and angry. Esther walks to the other part of the office, 
in one corner, counting the money given to her. Roland looks 
directly at Ruth, pointing his finger and raising his arm in 
anger, saying: 

[96. Spoken Title: “YOU HAVE NO RIGHT TO ENTER MY OF- 
FICE WITHOUT INVITATION.” 

Ruth only grins in a sneering way at the remark, replying: 

97. Spoken Title: “AS YOUR WIFE I HAVE ENTERED, BUT 
AS I PASS OUT THE DOOR I’M NO LONGER 
YOUR WIFE.” 

Ruth then steps forward into the office, closing the door she had 
been standing by in an angry mood and looking at Esther, while 
handing the cuff-link to Roland, saying to him as he looks at it: 

i98. Spoken Title: “THIS CUFF-LINK WAS FOUND AT THAT 
WOMAN’S APARTMENT.” 

“IT HAS SECURED OTHER EVIDENCE 
AGAINST YOU, AS I HAVE SEEN.” 

Ruth points her fingers at Esther as she speaks, but Esther pays 
no attention to her, turning her back. Ruth is excited. Junior 
stands at question, and runs to his mother. Roland looks at 
Ruth in amazement as she continues to rave. 

99. Spoken Title: “YOU HAVE CHOSEN YOUR PATH OF LIFE 
THE SAME AS YOUR FATHER, BUT YOUR 
MOTHER NEVER KNEW.” 

Roland begins to feel his calling and is ashamed. Esther is 
looking at a picture, disinterested in the conversation. Ruth and 
Junior stand hand in hand, while Roland tries to talk, but there 
is no use when a woman has the floor. Ruth continues: 

>00. Spoken Title: “YOU HAVE GAMBLED WITH LIFE, LOVE 
AND HAPPINESS YOU MIGHT HAVE HAD, 
BUT YOU HAVE LOST. YOU HAVE LITTLE 
ELSE TO LOSE.” 

Ruth takes Junior in her arms, saying with a sigh of satisfaction: 

>01. Spoken Title: “JUNIOR AS YOUR SON, I AS YOUR WIFE, 
HAVE WON.” 

Ruth still continues as Roland sobs the blues, in deep thought 
and as Esther glances toward Ruth with a look of hatred. 

With Junior in her arms and looking at him, Ruth continues: 

>02. Spoken Title: “I PRAY GOD THAT MY SON NEVER FOL¬ 
LOWS THE PATH YOU HAVE CHOSEN.” 
Ruth then makes her (EXIT) out the same door she entered, 
slamming it behind her, hoping to never open it again. (IRIS 
OUT). 

SCENE 144 

INT. of Roland’s office, at desk. (ANGLE SHOT) on Roland 
sinking into his chair at desk, after having an awful bawling- 



88 


SCENARIO —“THE CHOSEN PATH” 


out, and he feels it. Especially thinking of the wrong he haa 
done. While Esther, now alone with Roland, approaches him, 
with her vampire walk, and places her arms upon his shoulders, 
saying: 

203. Spoken Title: “WELL, DEARIE, YOU KNOW THE SUP¬ 

POSED TO BE, WILL BE.” 

Roland raises his head very sorrowfully, replying: 

204. Spoken Title: “NO, I ALONE AM TO BLAME. BUT IT IS 

TOO LATE NOW.” 

Roland then looks at Esther in disgust, as she smiles at him, and 
replies again: 

205. Spoken Title: “YOU SHOULD NEVER HAVE COME TO 

MY OFFICE.” 

Esther stops to think, then smiles as she walks toward the door, 
replying: 

206. Spoken Title: “PLEASE EXCUSE ME THIS TIME, ROLAND 

DEAR. BYE-BYE. SEE YOU TONIGHT.” 
Roland remains at his desk in deep thought, as Esther passes 
out the door (FADE OUT), with the closing of the door. 

207. Sub-title: “WITHIN A SHORT TIME RUTH OBTAINS HER 

DIVORCE.” 

“ROLAND AND ESTHER CONTINUE THEIR 
FRIENDSHIP.” 

SCENE 145 

EXT., on a country road, driving automobile. (IRIS IN), On, 
Roland at the wheel. Esther seated alongside of him, saying: 

208. Spoken Title: “NOW THAT YOU ARE FREE, ROL’Y, I 

THINK WE SHOULD BE MARRIED.” 

Roland looks at her in a sneering way, replying: 

209. Spoken Title: “DON’T BE SO FOOLISH. YOU’RE LIVING 

GOOD.” 

At this remark Esther places her hand upon Roland’s at the 
wheel, still driving, looking at him with an expression of sorrow, 
as he turns his head toward her away from the road, and not 
seeing: 


SCENE 146 

EXT., along the roadside. (IRIS IN), as auto is in motion, on 
sign reading: 

210. INSERT: “DANGEROUS CURVE. DRIVE SLOW.” 

SCENE 147 

EXT., on a country road, near high hill, in B. G. (CLOSE UP), 
while driving and not seeing the sign. Esther’s hand still on the 
hand of Roland at the wheel, continuing to speak: 

211. Spoken Title: “BUT THINK OF OUR FUTURE CHI—.” 

It was too late to think at this critical moment. Esther removes 
her hand quickly. Roland becomes very excited, turning the 



SCENARIO —“THE CHOSEN PATH ’ 


89 


wheel and swerving the car, trying to avoid the inevitable oc¬ 
currence. (CUT SCENE). 

SCENE 148 

EXT., on country road, at top of hill, where road turns; (LONG 
SHOT). Automobile (no driver), from rear going over the hill, 
twisting and tumbling on its own accord; (same auto used in 
previous wreck scene) as it stops at the bottom, (IRIS OUT). 

SCENE 149 

EXT., at the bottom of the hill, of wrecked machine, (CLOSE 
UP), On, Roland and Esther in wreckage, with her hand clasped 
over his, showing blood streaks on heads lying in peace. They 
have made their exit, without a last word or move. (IRIS OUT). 

12. Sub-title: “THEY HAVE SPOKEN THEIR LAST WORDS.” 


****** 


“WHILE AT ANOTHER HOME—” 

SCENE 150 

INT. of dining room, Raymond’s home, nicely furnished. (IRIS 
IN), On, leaving the table, Paul and Hazel, side by side, walking 
together toward a window or balcony. Mrs. Wirt, Mrs. Pohl and 
Mrs. Brown, with Junior walking toward another room, and 
making their (EXIT). Raymond and Ruth then decide another 
balcony, slowly walking and conversing. As the heavy velour 
curtains are pulled back the reflection of the moon is upon them, 
as they pass through the balcony entrance, looking at each other 
lovingly (IRIS OUT). 

SCENE 151 

(SCENIC EFFECT),—of clouds, slowly approaching the moon, 
with the 

13. Sub-title: “THE RETURN OF AN OLD AND NEW LOVE.” 
(IRIS OUT). 

SCENE 152 

INT.—on balcony, with velour curtains in B. G. (IRIS IN), 
On,—Paul and Hazel, holding hands, talking suavely and looking 
about the same,—finally in love with each other,—they kiss. 
(IRIS OUT). 


SCENE 153 

INT.—on balcony, with velour curtains in B. G.,—at other 
window. (IRIS IN), On—Raymond and Ruth, looking toward 
the other balcony at Paul and Hazel—they smile and turn 
toward each other smiling, Ruth looking into the eyes of Ray- 






90 


SCENARIO —“THE CHOSEN PATH” 


mond, very expressive with words of love. Raymond embraces 
her into his arms, presenting—some kiss. They are caught in 
action, as the velour curtains are pulled back in a hurry, by 
Junior. He runs toward them interrupting, saying: 

214. Spoken Title: “YOU T’ANT TTSS MY MAMA, LEST YOU 

TTSS ME TOO.” 

At this remark Raymond picks up Junior in one arm and kisses 
him. Then takes Ruth into his other arm,—saying to Junior: 

215. Spoken Title: “YOU ARE TO BE MY BOY, NOW.” 

Junior is pleased to be in the arm of Raymond, so is Ruth. 
They watch the clouds as they approach the moon,—then glance 
toward the other balcony. (IRIS OUT). 

SCENE 154 

INT.—of both balconies, same as before. (DISCOVER),—Paul 
and Hazel in arms, looking very lovingly at each other,—Ray¬ 
mond, Ruth and Junior in arms, all are happily in love, with 
expressions of contentment (IRIS OUT). 

SCENE 155 

INT.—of (SCENIC EFFECT),—(IRIS IN),—as the clouds 
gradually pass before the moon and it disappears, bring forth 
darkness, (IRIS OUT). 


FINIS 





SCENE PLOT —“THE CHOSEN PATH” 


91 


1 . 

2 . 

3. 


4. 

5. 

6 . 

7. 

8 . 

9. 

10 . 
1 . 
2 . 
13. 
jL4. 
15 . 
L6. 

17. 

18. 

19. 

20 . 


21 . 

22 . 

23. 


24. 

25. 

26. 
__ 


28 . 

29. 

30. 

31. 


[32. 

33. 

34. 

35. 

36. 

37. 

38. 


Scene Plot —Interiors 


School Room. 

Hospital, private room. 

Living Room, Ruth’s. 

Dining Room, Ruth’s. 

Kitchen, Ruth’s . 

Bedroom, Raymond’s . 

Office, of B. E. Morgan. 

Drug Store . 

Parlor, Ruth’s . 

Living Room, Ray’s. 

Dance Hall . 

Balcony, private . 

Restaurant . 

“Oasis” Dining Room, etc. 

“Oasis” Gambling Room, etc. 

Taxi, in motion.. 

Court Room . 

Jail, in cells ... 

Witness Room . 

Morgan’s, Dining Room, FINE.. 

Morgan’s, Bedroom, FINE . 

Gown Dept, at Store, etc. 

Auto Salesroom, etc. 

Flowers, in Church Aisle. 

Interior of Ben’s Room.. 

Office at Police Station. 

Reception Room, Morgan’s. 

Living Room, Paul’s . 

Living Room, Roland’s, FINE ... 

Kitchen, Roland’s, FINE. 

Pantry, Roland’s, FINE. 

Drug Store, Raymond’s. 

Living Room, Raymond’s, NEW... 

Bedroom, Raymond’s, NEW. 

At Door of Apartment. 

Dining Room, Raymond’s, NEW. 

On Balconies of Dining Room. 

Scenic Effect, (Clouds, Moon). 


1-2-3-4-12 

10-13-14-15 

16-17-18 

21-22-25 

23 

20-26 

32-141-142-143-144 

.34-35 

36 

37-38-65-66-67 

39-40-41-42-43-44-45-46 

47-48-49-50 

53 

56-57-58-59-89-98 

.90-91-97-98 

.61 

.70-72-75-77-78 

.69 

.71 

.73 

.74-76 

.83 

.84 

.85 

.93-94 

.95-96-103-106-107 

.105 

.109 

110-113-130 

. 111-112 

. 112 - 1-2 

115- 135-136-137-138-139-140 

116- 117-123 
124-125-127 
132-133-134 
150 

151-152-153-154 

155 










































SCENE PLOT — “THE CHOSEN PATH” 


92 


Scene Plot —Exteriors 


1. 

Exterior of School. 

.5-6 

2. 

At Corner, near school. 

.7-8 

3. 

Hospital. 

.9 

4. 

Home of Ray. 

.11 

5. 

Of Porch, Ruth’s. 

.19-24 

6. 

Motion Picture Theatre. 

.27-29-31 

7. 

On Street Corner. 

.28-30 

8. 

Taxi .. 

.51-54-60-61-62-64 

9. 

Restaurant ... 

.52 

10. 

“Oasis”, Some Roadhouse.. 

.55 

11. 

Entrance to Some Home. 

.63 

12. 

Garage and Taxi’s. 

.68-80 

13. 

Drug Store . 

.79 

14. 

Modern Home in B. G. 

.81 

15. 

Entrance to Dept. Store. 

.82 

16. 

Train Station. 

.87 

17. 

Trains . 

.88 

18. 

EXT. of Apartment House. 

.92 

19. 

Police Station . 

.96 

20. 

EXT. of “Oasis”. 

.99-100-101-102 

21. 

EXT. of Wonderful Home in B. G.~. 

.104 

22. 

Taxi, Riding Along. 

.108 

23. 

On Street, Paul’s Taxi, old car. 

.114 

24. 

Fire Dept. Station. 

.118 

25. 

At a Corner, (dangerous crossing). 

.119-120-121 

26. 

EXT. of a Fire, Paul’s Home. 

.122 

27. 

On Street, towing taxi. 

.126 

28. 

Hotel in B. G., six taxi’s. 

.128-129 

29. 

Taxi Arrives at Apartment...... 

.131 

30. 

On Road, driving. 

.145-146-147-148 

31. 

At Bottom of Hill, wreck. 

.149 
































GLOSSARY 


93 


Glossary or Phraseology 

of Words and Terms Used in most Photoplay 

Writing. 


ACTION— 
ANGLE-SHOT— 
ATMOSPHERE— 
BUSINESS— 

BUST— 
CAPTION- 
CAST OF 

CHARACTERS— 

CHARACTER- 

CLIMAX— 

CLOSE UP- 
CONFLICT— 

CONTINUITY- 

CRANK— 

CRANK-SPEED— 

CRISIS— 

CUT-BACK— 
CUT-SCENE— 
DESCRIPTIVE 
TITLE- 
DIRECTOR— 
DIRECTOR OF 
LOCATION— 
DISCOVER— 

DISSOLVE- 

DOUBLE 

EXPOSURE— 


The plot and story is told, by the characters. 
The scene is taken at a different angle. 
Usually, the color surrounding the scene. 

Used by the Author, for instructions of Acting. 
Or the Director, of the production. 

Cut the scene for another view of same. 

Before the reading title, is placed. 

Listing the characters, in play. 

Only one of the persons, in play. 

The doings that tell the most interesting points 
of the story, at the highest interest or suspense. 
Camera, showing the scene very closely. 

Used in every plot, indispensable, the antag¬ 
onism, at drama, of characters. 

The following of all scenes, reading matter, 
on screen, etc., as they are directed to be. 
Meaning, take the picture. 

Meaning, the speed to photograph. 

A minor climax, excitement in the suspense, 
of plot. 

Returning to a previous scene. 

Instructing the camera, to stop. 

Shown on the screen, explaining all not shown. 
The overseer of the production. His assistant. 

Finds suitable places for settings. 

Meaning, the character is in motion, as the 
start of a scene. 

The blending of one scene, to.anoth.er. 

Made from two overlapped negatives, to be 
sure of scene. 






94 


GLOSSARY 


ENTER- 

EXIT— 

As a character enters a scene. 

A character passing out of scene, opposite of 
Enter. 

EXPLANATORY 

TITLE- 

EXTERIOR— 

EXTRAS— 

FADE IN- 

FADE OUT- 

FAKING— 

FLASH- 

GESTURE— 

INSERT- 

Explaining the plot, or story, not shown. 

An outside setting. 

Characters, engaged to play minor parts. 

The gradual appearance of a scene. 

The gradual disappearance of a scene. 

A scene, showing the impossible, seem true. 
Just a short scene, shown on the screen quickly. 
A character in action, with hands. 

Reading matter, like newspapers, letters, tele¬ 
grams, etc., to tell the story. 

INTERIOR— 

A scene taking place indoors, or to appear 
that way. 

INTERPOSE— 
INTRODUCTORY 
TITLE- 
IRIS IN- 
IRIS OUT- 
LOCATION— 
LONG-SHOT- 
MAT— 

An interruption of events. 

Reading on screen, introducing a character. 
Opening of a scene. 

Closing of a scene. 

An outside scene, to be photographed. 

A scene in full view, showing all. 

A plate covering the lens, to produce a key¬ 
hole, field glasses, port-hole of a boat, etc. 

OFF- 

ON— 

Reverse of On, etc. 

A character in the picture, showing action, 
is ON. 

PAD— 

Showing other scenes unnecessary to pro¬ 
duction. 

PANTOMINE— 

Explaining certain meanings, by movement of 
body. 

PROPERTY-LIST— 

An itemized list of property, including scenes, 
etc. 

PUNCH— 

REEL- 

Strong emotional actions. 

A metal spool, the film is wound, approximately 
1,000 feet. 

REGISTER— 

RETAKE- 

SCENARIO— 

Anger, hatred, etc. Photographed. 

The scene to be taken again. 

The complete story, put into a description, of 
plot exactly as seen on the screen, etc. 

SCENE PLOT- 

A list of all scenes used in production for the 
use of the Director, including interior, exterior. 

SEMI CLOSE UP- 

SHOOT— 

SITUATION— 

Between a close up scene and a long shot. 

At the command of the Director to photograph. 
Any point in the plot, just temporary. 




GLOSSARY 


95 


SLOW-CRANKING— 


SPOKEN TITLE- 

STRUGGLE— 

SUB-TITLE— 

SUSPENSE- 

SYNOPSIS— 

THRILLS— 

VIGNETTE— 


Mostly sixteen frames are exposed to action 
per second. At times eight, or even twelve 
frames, are photographed to make the scene 
unusually fast., like in a comedy picture. 

A saving of a character, put on the screen. 
Used in opposition, during the plot. 

A reading shown on the screen, while the 
picture is in action. 

The mind, doubtful as to the events, ending. 

A summary, or abstract, of the play. 

Action, often spectacular, unexpected, or 
dangerous. 

Just a close scene, of a face or article; alone. 


NOTE:—The above are only a few of the words used in the 
production of Motion Pictures, but about all used in the writing, are 
above named. The meaning in Motion Pictures are somewhat dif¬ 
ferent than the ordinary meaning, as in the dictionary. 




96 


HELPFUL HINTS WITH BITS OF ADVICE 


A Few Good Points To Remember 


THE SYNOPSIS:—Tells your story, in a general view, without the 
use of dialogue, or unnecessary description in detailed nar¬ 
rative form. At all times keep to the one thought; be brief, 
explain your plot thoroughly, and in the Present Tense only. 
Most all producing companies will not consider anything but 
the Synopsis. 

CAST OF CHARACTERS:—Use few as possible, limit the cast to 
six (preferably); economize; it costs money to employ all. The 
cast in this story could be cut to less than half, if desired; 
but this cast was used for a special purpose. The Characters 
should be described briefly,—to the parts acted by them. The 
producer would like to know who to use. 

THE SCENE PLOT:—Used by the director, and written in the: 
studio. It shows at a glance, the scenes used in the pro¬ 
duction. Exterior scenes, are most preferred, they save the 
cost of production. In some cases it is more essential to use 
Interior settings, as in this story, but many of the scenes 
here may be taken at ready made stores, etc. 


If you like to write you are quite sure to succeed. Apply your 
mind to your story—it has been done by others—it can be done by you. 

Choose as your subject,—only what you are familiar about. 

Do not write of things you know nothing about, or of. This does 
not mean, necessarily, that you should have personal experience of 
all you write about, but you should have the knowledge of your sub¬ 
ject, to be successful as a writer. Look around your neighborhood— 
or someone you have seen—and pick your subject. 

The Plot for a photoplay consists of:—struggle, not exactly a 
fight, or a duel, with weapons, but right against wrong in a strong 
degree. Deal with conflict and complications, which must be ex¬ 
plained before the story ends. Use judgment and common sense; 
the public is curious and would like to know the good ending. 








HELPFUL HINTS WITH BITS OF ADVICE 


97 


Does not life consist of interest and suspense, with unexpected 
surprises? 

A good photoplay is made successful,—by not knowing the next 
happening. 

Create suspense, that the audience will be interested and keep 
their seats, in a state of uncertainty. 

Make a personal study of humanity; all lives are different. 

Don’t dream of conditions of which you are unfamiliar. All 
i circumstances are different—no two people live alike, their lives are 
varied. Some are made up of joy, some sorrow, some of fears. Every 
[life has its plot. Seek and find for yourself. 

There is plenty of material to write about. Millions of people to 
i study, and plenty of theme material to unfold. 

Cultivate a creative mind, read other stories, see photoplays and 
mentally tear them to pieces, scrape them, like you would the paper 
on the wall,—then redecorate with new paper; bring forth new atmos¬ 
phere, of originality. It is an easy way to learn how to build plots. 

Do not write a plot on what you have seen, or read, for if you do 
it has been only a waste of time and your story will soon find a flame 
of fire, and the pocket-book depreciating rapidly. Be Original and 
! Creative. Be honest with yourself to be successful; and honesty to 
others will be returned; as your reward, the pocket-book will swell. 

Use your imagination—you have one. Remember the dream you 
had last night? Just imaginary, wasn’t it? 

What are you going to do,—and where are you going to spend 
your vacation? 

Suppose you meet an old friend of yours, of the opposite sex, 
whom you have not seen for a long time, possibly years, at this sum¬ 
mer resort. Both of you go canoeing, and are the only ones in the 
vicinity,—well the canoe don’t necessarily have to be capsized, and 
lose all the pretty pillows and decorations, because you were caught in 
a rain storm. The man could place his coat over the lady, for pro¬ 
tection of the rain, and put more pep and steam behind the paddle, 
making for the shore. 

There might not even be a place of shelter on shore, but the 
canoe can be dragged upon the land,—then turned over—it is possible 
to crawl under until the storm is over. 

The old love may also return, and if you are not on the look-out, 
and don’t watch your step—the vacation might end in a marriage, 
or the like, etc. 

That is imagination of one sort. You may, no doubt, imagine 
another subject. 

The truth of the originality of your story is easily recognized 
by an editor or an experienced critic, because they are familiar with 
the material used in all stories. 

Protect yourself by keeping posted. Improve, Create and write 
something new, with curiosity, and give it a good Title. 

To do your story justice, that it may appeal to the majority— 
be sure to choose the title from the story you have written. It is 




98 


HELPFUL HINTS WITH BITS OF ADVICE 


easy to do it that way, until you are more efficient in the art of 
writing. 

Write something which could be possible, pertaining to life. 

Keep in mind,—the heart and human interest,—something will 
happen and your manuscript will pay you for the time. Use your 
imagination, and some excitement, in the story that could occur. 

To the writer, imagination is like a bank account—you can 
accumulate more and draw interest on it. 

Now that you are about ready to write, remember:—The National 
Board of Censorship, and The State Boards, too, have something to 
say about your picture. It is up to them to pass or reject it as they 
see most suited. 

Avoid the following, unless you can cleverly pass around the 
corners, without causing any hardships: 

Burglary:—Don’t show him breaking into the home, or opening 
a lock, but it is different after he has entered. Allow him to proceed.' 
Don’t show how a safe is opened, even if you do know, but,—you might 
have him go thru a safe after it is opened- with his back to the 
audience. 

Crime:—Don’t write a story containing all crime, or have it 
plainly seen; the entire story depends upon it as the main purpose. 
The world is bad enough: don’t make it worse by showing anything 
repulsive, or anything barbarously killed. 

Be human in all your writing ,if you want to be successful. 

Suicide—It will never do. The suggestion of self-destruction will 
never pass, as a feature. 

Immorality—Do not write of vulgar or suggestive action. Stay 
away from the rough-house. There are many refined people, who 
would take offense, and it is not good for the children to digest. 

The above are just a few of the most important, to NOT write 
about. If you cast about you will find many good themes to write 
and use as a subject. But many scenes mentioned above, it is true, 
are produced and passed, probably because the crime was essential to 
the story, but not the purpose of it. 

In some stories, it is necessary that such scenes should be shown, 
for the purpose of teaching a lesson. 

The censorship boards realize that morality is to be desired, and 
will be lenient toward passing some crimes, or suggestions thereof, 
if it teaches a lesson, leaving the suggestion for the uplift of morality 
impressed upon all. 

People attend photoplays to be amused in accordance with their 
characters—to weep, as some enjoy, and to laugh, others enjoy. 

Write something that will amuse both types and you are sure 
of success in your writing. 

There are others, too, that attend photoplays—the studious, who 
profit by the experiences they have seen pertaining to business and 
also the advancement and benfit of their lives as a profitable lesson, 
foreseeing what may be possible to happen even to them, unless the 
path of their life is changed. 



HELPFUL HINTS WITH BITS OF ADVICE 


99 


Do not write stories of political or religious faiths. In all proba- 
ility you will be the loser—very few, if any, producing companies 
ill accept them. 

Do not step on any person’s foot—they may have corns, and will, 
o doubt, tell you about it, in some way. 

Don’t be a knocker in any way, whatever. Be progressive, as is 
le world,—advance your knowledge and help everyone to make a 
access. Tell all in a writing, exactly as you feel you would like to 
lform other persons, so they may make their choice of progression 
;i this world. 

Write a story of originality, that is exact to your imagination, and 
bmplete it on typewritten paper, size SV 2 x 11 inches. Editors are 
usy men, and they know from your synopsis if they desire your story 
r not. 

Various stories are in demand by different companies, if you don’t 
ucceed at one place, try his competitor; your story may be just what 
hey desire, and be a big success. 

If you are a beginner, and young in writing, don’t try to write a 
tory that consists of a series of photoplays, such as continued in 
ext week’s production. The public desires to see the show in one 
ight; there is no demand for a series. 

Anyhow, unless you have exceptional ability, you may get all 
nixed up before the finish. 

The most popular productions are those consisting of a happy 
jnding. Remember, you have the public to amuse, and some of them 
Idcture themselves as the hero or heroine, etc. Send your audience 
way with a good thought of contentment. 

Be up to the minute in writing photoplays if you want to sell 
ihem. Past history is occasionally accepted, but it has been, like a 
>upa, produced for the public. Give the public an up-to-date produc- 
iion, they want something new. 

Be on your guard against introducing inconsistent manuscripts. 
\s previously stated, by all means be original. 

If you have something to tell others you cannot talk to, put it in 
vriting. Material is plentiful and the most studious will seek it. 

The Copyright Law will protect you. For information per- 
aining to same, address all communications to Library of Congress, 
Copyright Office, Washington, D. C. 





100 


SUBJECTS FOR STORIES 


The following are a few subjects on which to build a plot: 

1— The reformation of the degenerate class of people. 

(a) The wanton sees the mistake. 

(b) The dope fiend knows his wrong. 

(c) The gambler is a business man for crooked profit. 

(d) The thief’s turning point. 

(e) And ever so many subjects pertaining to same. 

2 — The man or woman who is only interested in their desires 

(a) The man’s desire for a virtuous woman, not thinking of hi 
own past life. 

(b) The woman who desires the easy life, not lasting very Ion* 
but living high and seeing the mistake. 

(c) The woman who wished to be true. 

(d) Why the woman was not true. 

(e) The divorced, who wished it had not been and still in lov 
with the ex-husband or wife. 

3— The son or daughter who tried to deceive their parents. 

(a) The daughter who seeks fame. 

(b) The son who did the same. 

(c) How to easily make a failure. 

(d) The mother who loved them with the utmost confidence. 

(e) The father who had confidence, but distrust in his mind. 

4— The evolution of life. 

(a) The person who thought only of success. 

(b) How the success was made. 

(c) The honest and loving people. 

(d) The farmer boy who was an inventor, but took a long tim 
to find it out. 

(e) The love that was true. 

5— The age of experience. 

(a) The confession of a good-hearted and God-loving person wh 
once did wrong. 

(b) The advice given to others. 

(c) The success in life from experience. J 

(d) The professional person who had a hard road to success; hel; 
them find it in your story. 

(e) Your imagination should be good. Try it out. Write a storj 







A CHART TO FOLLOW IN WRITING 


101 


A Chart To Follow In Writing* 


Writing a story is somewhat like the method used in salesman- 
flip—you must sell your story to the reader, only in more technical 
[>rm and with originality of the theme. 

The following terms of a chart are well worth your time and 
itudy, if you intend to write dramatic manuscripts. 

1. The approach of your story, including location. 

2. Arousing interest. 

3. A little dramatic comedy, or some kind of comedy. 

4. Return to the text of the story. 

5. Keep the events of the story moving along, holding interest 
at all times. 

6. Drop away, if necessary, for only a short time. 

7. Arrive part way toward the climax, then drop, creating anx¬ 
iety, or curiosity. 

8. Create some excitement. Everybody is interested in it. 

9. Then drop for only a short period, one-fourth or one-half of 
the way. 

10. Keep in mind the events following your story, explaining them 
all, as they occur. 

11. Don’t think of things that are of no vital interest pertaining 
to your story or plot. 

12. Stay with your story,—something will happen. 

13. Return to a light comedy, to lift the monotony. 

14. Then get serious, with plenty of punch and drama. 

15. Bring forth some real excitement, toward the finis. 

16. Come forth with and present the purpose of the story. 

17. After this, come to an end, at once. 

18. Remember the happy ending of your hero, or heroine. 

19. Give your story a good title—make it short and snappy. 

20. Read it over and re-write it, if necessary. Accept the criti¬ 
cism of your friends. 

These few points on writing for the photoplays should be a good 
technical chart to follow, at most all times, by the new writer. 

If the advice given you in this chart is followed, you will have a 
/ery good opportunity of making a success, if your story is of origin¬ 
ality and contains a good theme and plot. 

Judgment should be used according to the length of your story, 
as to when these points are necessary. 






102 


A FEW SUGGESTIONS OF u DONT’S ,y 


A Few Suggestions of “Don’ts” for the 
Aspiring Writer. 


DON’T—Worry about the scenario technique, the producer will take 
care of that. 

“ Submit your story to a studio until you are about positive, ir 
your mind’s eye, that it is possible to produce. 

“ Allow your own judgment to be final, get the opinions oi 
your friends before you submit it. 

“ Try to write your story in one sitting, take your time anc 
do it right. 

“ Try to write a story about things of which you are no! 
familiar. 

“ Forget that action is the important requisite in the photoplay, 
“ Fail to keep the events of your story moving along. 

“ Forget that the human stories, with an appeal and moral are 
the most successful. Stick to life as you see it. 

“ Forget, everybody has a different life—some sorrow, some 
fears and some happiness,—making it dramatic. 

“ Fail to write the story for the sake of the plot itself. 

“ Try to pass the censorship boards, it is up to them to pass 

or reject your story. 

“ Forget the truth of the originality of your story is quickly 
recognized. 

Attempt to cheat.By all means, at all times, be original. 

“ Fail to keep yourself posted by reading the different maga¬ 
zines. 

“ Forget a little dramatic comedy goes good. 

Be behind the times—be up to the minute on writing photo¬ 
plays if you want to sell them. 

“ Forget that people attend photoplays to see the story, not 
read it. 

Attempt to write a story that is not within your imagination. 
“ Forget various stories are in demand by different companies. 
Find out their desires. 

Forget that a good photoplay is made successful by creating 
suspense, that the audience will be interested and not know 
the next happening. Send them from the theatre with a good 
thought. 

“ Forget there is a market for a good story. 








ARRANGEMENT OF SYNOPSIS 


103 


Arrangement of Synopsis 


The following is a form of arranging the synopsis: 

Size of paper, 8 V 2 x 14, or 8 V 2 x 11. Bound together at the top, 
on a good quality of paper. 

First Page 

“THE TITLE” 

— By — 

JOHN DOE 

Second Page 

CAST OF CHARACTERS 
Third Page 

John Doe 
16329 Cornell Dr. 

Cleveland, Ohio. 

(Protected under the common 
law, registration of copyright 
See Section 2 of the Act 
approved March 4, 1909). 

“THE TITLE” 

Followed by the synopsis in the present tense. Be brief, and in 
narrative form explain the plot thoroughly. 

The synopsis should be typewritten, with a wide margin at the 
top and bottom, also the sides, of about two inches; make it very neat. 
Consider the reader—be sure to have it double spaced. 

Fourth Page 

John Doe, 

16329 Cornell Dr. 

Cleveland, Ohio. 

“THE TITLE” 

Continuation of the synopsis, following, and if desired, the com¬ 
plete text of the story itself. But this is not essential—if your 
synopsis is accepted usually the complete story will be requested. 

Note.—Have your name and address appear on each page, follow¬ 
ing in upper left hand corner, and in the center of the pages, at top, 
“The Title” of the story. 


3,000 Words 
Usual Rates, 
(example) 





104 


THE MARKET FOR SCENARIOS 




The Market for Scenarios 


May possibly seem limited, especially to the beginner in the field of 
scenario writing, but it should be remembered there is always a market 
for a good story. 

Stories written especially for the screen are being recognized 
constantly as consisting of the best material, and the new writer can 
hope for his opportunity in the scenario market as conditions improve. 

All persons who aspire to become writers should realize that pro¬ 
ducers have recognized the value of good stories. If a story is to be 
chosen by the producer between a scenario by an unknown author, and 
a book by a well known author, the latter would by all means be given 
the preference, because of publicity value. And still there is another 
consideration, many professional writers cannot write scenarios and 
their stories have been rejected the same as the unknown author. 

Scenario writing is different. 

To write for the screen, your story must be in action, that it 
may be told by the expression of the face and other actions of panto- 
mine. The public come to see your story,—not read it. Have the 
actions on the screen tell your story, with the assistance of sub-titles 
and spoken titles, which are supplied at the studio to please them¬ 
selves. 

It is foolish for the new writer to attempt continuity writing, it 
will be written in the studio, if your story is accepted. The synopsis 
is all that is necessary to start with. 


Selling Your Synopsis 

There are agents, many of them, who offer to sell manuscripts for 
the writer. Of course they usually make a charge for their services, 
and get big prices for the stories they handle, but the most reliable 
agents only consider stories from established writers. You can sell 
your own story if it is good. Address it to the Scenario Editor of the 
company you may think would purchase it, and enclose sufficient 
postage for its return, if rejected. 

Always keep a carbon copy of your story and a record of the time 
and place your story is mailed. You can be quite sure your story will 
not be stolen, if you select a reliable company, whose pictures you 
have seen produced. 

The price of your story will be based upon its value to the com¬ 
pany, if you are a beginner in writing, and be thankful to sell it, for 
your opportunity has come and you will then be an established writer. 



THE MARKET FOR SCENARIOS 


105 


It is not worth while for any company to steal your idea, for the 
price of your story is far less than the court costs and damages would 
imount to—if your story should be used without consent and you sued 
;hem in court. For further information, read the Copyright Law. 

Know the market for your story, before submitting it to any com¬ 
pany. It is advisable to subscribe for one or more of the trade 
journals that deal with the motion picture industry. They publish 
the latest news and tell which company is making such and such a 
[production and possibly why. But don’t jump in the river and sink 
yourself down to writing a story somewhat like they are producing— 
be original, first, last, and always. 

For the Benefit of the New Writer 

It is easy to study the cast and also the settings, to see if your 
story would be to their demand, or possibility. The movie market is 
Ivery different. Some companies want this or that kind of a story. 

The new writer seems to have the idea that a story for a motion 
picture is accepted because it is a story and can be produced at any 
studio. Very true, it possibly can, but maybe the story is not the kind 
a one certain company is producing. 

In comparison, a story may be like a suit of clothes: You might 
wear it and the other person would not. It may be becoming to you 
and not to others. It is up to the writer to submit a manuscript 
sjwhich will be desired by the producer. 

Although your entire story or synopsis may not be used, there 
[ might possibly be something in it well worth while. 

If a person has a real gift for scenario writing, he or she is very 
fortunate if an opportunity presents itself to become associated on 
!the inside of the motion picture studio, that they may meet and know 
! persons in all branches of the industry and learn from actual ex¬ 
perience the ins, outs, ifs and whys of the business, but such an op¬ 
portunity is indeed almost a miracle. The big companies have no time 
to instruct, they demand talent. 

Even if a person should go to a studio with the purpose of learn- 
i ing, the exit would soon be found by request. Motion picture com- 
panies are busy places and one big problem they have to contend with 
| is, to keep applicants away. 

It is possible to lea.rn about the business in some respects, if the 
: new writer should study motion pictures at close range. The screen is 
a good instructor, if you will study it. 

The different magazines are well worth reading and the public 
library usually has books on dramatic and fiction writing, that may 
give good hints on the construction of story building. 

What your chances for success in this work are, is up to you to 
decide after a few adventures. 

We cannot prescribe a more definite plan than this. 

But if you are financially in good standing and can afford to go 
the limit—as the old saying is: “Never too many books to learn from 
—it is up to you. 






u 


106 THE MARKET FOR SCENARIOS 


Even if you have ability, and are gifted to writing, the more you 
learn, the better your opportunity. 

To be very honest, with a frank statement, kindly allow writing 
to be classified as this: A gift of some nature is bestowed upon us 
all, in fact we are all suited to some good advantage in this world; 
if we are industrious and wish to make the best of our lives, we will 
accomplish the one desire. Some professional men are best suited as 
doctors; some attorneys at law, and very nice as it is, others are more 
suited to other business, such as merchants, artists, editors, sculptors, 
singers, playwriters, etc., pertaining to profession. And also there 
are others who are interested and adapted to be an architect, a con¬ 
tractor, a builder of our nation, and ever so many real professions too 
numerous to mention. We cannot all succeed at one profession, al¬ 
though each and every person has dreamed of big success in one par¬ 
ticular line; before the climax or finis, a change has confronted them 
and another object is their view. 

Not everyone who attempts to write for the screen is a success; 
not everyone who studies law is a success; not everyone who studies 
to be a doctor is a success, etc., but they have knowledge which can be 
developed. In many cases the aspirant is able to do possibly some 
great work along the line aimed at. 

To be agreeable, let us classify writing as a gift. If you have the 
first qualifications, it may be developed in time. 

There are any amount of people who have tried to write for the 
screen and found it too high an aim for them, but they have been 
successful in writing stories or articles for newspapers and magazines, 
also poetry and little verses. Then, there are others who have no 
talent, with no ability. There is no need of trying to answer the 
person without ability. It would be advisable for them to look else¬ 
where for a field of new endeavor. 

While on the subject, we wish to state, without any insinuations 
or reflections, that the writings of those who are well educated and 
cultured would be more acceptable to the producer, from the critical 
point, but it is very unnecessary to try and be superior on the uplift 
point of view. 

We are inclined to agree as to the crudities of the motion picture 
industry, to a certain extent. But you cannot successfully write for 
the screen, if you have that feeling. 

The new writer should remember that the attempt is worth while. 
Anyone who ever succeeded had to make several attempts i before 
recognition. It is very possible to receive $500.00 for a good synopsis, 
and much more if it is accepted. 

Any person who feels that a good story is to be written by him, 
should make the attempt, if the responsibilities do not conflict with 
the desire. Don’t break yourself trying to do it, either mentally, 
physically or financially. 

There is no way of telling where a genius may be located, until 
the address is given and a proof made. 

If you happen to succeed, the financial possibilities are unlimited. 
Writing for the movies is very uncertain, and there is no way you can 
learn to do this work, that will assure you a positive sale. The sensi- 





THE MARKET FOR SCENARIOS 


107 


tive, unknown writer, must prepare for the rejection of his stories 
and make up his mind not to be hurt if it happens, but write another, 
etc., or else drop the idea altogether and do something else. 

There are discouragements in all professions, regardless of what 
one, and there are more for the unknown writer than any profession, 
especially the movie writing. But it is very interesting work. You 
must be interested to be successful. 

It would not be advisable to take your writing too serious. It is 
much easier and better to take it calmly and in the spirit of adventure, 
without investing much money. 

The story in this book is not a wonder, but it would make an 
interesting motion picture. 

It will be noticed there are several little advertising stunts in¬ 
cluded in this story, but it is not advisable to write stories for the 
movies that contain advertisements because many picture theatres will 
not show that part of the scene, unless they are well paid. 

The scenario in this book is a pretty good model for the new 
writer to pick at and improve on their own story. There are many 

[ scenes that can be cut and many can be improved, or another substi¬ 
tuted—that is the purpose of this story, and book. 

It will help you to built a plot if it is studied, but keep in mind, 
if you want to sell your story, that you must be original. To originate 
something new is the road to success—follow it. 

The studios of the present, at the time this book was published, 
have their own staff writers. Don’t blame them in any way whatever. 

If you were to see the amount of unsolicited manuscripts received 
by them every day, with so many awful, undesirable stories, we are 
sure you would consider the possibilities. 

Your story may be very good, and the possibilities of it considered 
so, but before you submit it to a producer, kindly allow the suggestion 
that you read over and study it very carefully; see if it would satisfy 
the average person, and be honest with your own opinion. If neces¬ 
sary, improve it, if you wish to be successful in writing. 

The photo play of the future will have no permanent staff, as the 
writer of this book sees it, including the stars. (With apologies to 
the one who is worried.) 

The important asset will be the one with ideas. The best stories 
for the movie will be the proof. 

To create these stories, is the task for the writer, be he known or 
unknown, the opportunity is open for the genius to establish himself. 

If you have seen some of the recent productions and have studied 
them, decide for yourself. 

The time is coming that the world’s supply of the best talent is 
forthcoming. Experience and study should be convincing and the 
best can always be found, if looked for. 

At the time this book was published, the writer of same has seen, 
and no doubt will see in the future, some productions in the movies 
that were produced and shown on the screen because a big star or 
known actor is the advertising feature. When a picture is a big suc¬ 
cess, it is because the public likes it. 







108 


THE MARKET FOR SCENARIOS 


Let us all use common sense and be reasonable, as persons of 
intelligence. 

The question is, Do you wish to see the star, or the story? In a 
few productions of the past, there have been many big stars who have 
done themselves more injustice than justice to their ability, by taking 
the leading part in a story which was not at all suited to them. 

All pictures will be ideally produced, as is hoped for in the future, 
to satisfy the public, and the author and director will be responsible 
for the success,—not the actors, to such a big extent, although the 
credit is given to the persons of talent and ability, and also the dis¬ 
credit, by the public. 

A new creation is coming to the movies in time. Now, do not 
jump at conclusions and apply to a movie star, or to an author or 
director, for the inside information, for they have not the time to 
answer all questions. 

The movie life is work and not play. The studio is hot in summer 
and cold in winter. It is not a glorious life from one day to another. 
The mental condition must be exact at all times and the physical con¬ 
dition perfect, regardless of any branch pertaining to same. 

When a producer realizes that original stories are preferred, and 
not so many stories fitted to some particular actor or actress, the new 
creation will have been originated, and the author and director will 
receive due credit. We all know that new inventions are originated 
most every day, on something, and no matter how small, they all con¬ 
tain a new idea. The same with writing. 

An original story will contain something of value to those seeking 
ideas and progressiveness. 

Any person who wishes to choose another path from the one he 
is following, can do so intelligently without stumbling, although it is 
possible to catch yourself before the fall. 

Write anything you want to write. It is interesting, instructive 
work, even if your first story does not sell. 




PRODUCING COMPANIES AND DESIRES 


109 


Following Are The Addresses of a Few 
Producing Companies:— 


From information received, at the time this book was printed, the 
kind of stories accepted by them is herewith given to you. Many pro¬ 
ducers change their needs, however, sometimes from week to week, 
and other producers are entering the field. It is advisable for the 
writers to keep posted, by reading different motion picture magazines. 

Address all manuscripts to the Scenario Editor. 

Benjamin B. Hampton, Federal Photo Plays, Robert Brunton 
Studios, 5341 Melrose Ave., Los Angeles, Calif. 

Original material, of exceptional merit, might possibly be ac¬ 
cepted. 

Christie Film Co., Sunset Blvd. and Gower St., Los Angeles, Calif. 
Especially needs light comedies for two reel films, of the right material. 

D. W. Griffith, Griffith Studios, Orienta Point, Mamaroneck, New 
York. No doubt will accept dramas suited to his people and style. 

Famous Players-Lasky Corp., 485 Fifth Ave., New York City. In 
the market for material, worthy of special productions, or so-called 
features. All manuscripts will be given consideration, that are sub¬ 
mitted, but it must consist of the very best of material. 

Fox Film Corporation, West 55th St., New York City. Will ac¬ 
cept original manuscripts, for special features without stars, and 
others are also desired for their stars. It is advisable to study the 
company’s productions, and determine the sort of stories preferred by 

Harry Levey Service Corp., 230 West 38th St., New York City. 
Desires stories that can be adapted to the featuring of nationally ad¬ 
vertised products, in a manner that it plays an important part, yet 
not intrusive and containing enough selling value to be effective. The 
scenario in this book is a good example—the drug store scenes, etc. 

Hope Hampton Productions, Inc., No. 5 West 32nd St., New York 
City. Will consider stories with strong dramatic interest. Female 
role must predominate and be sympathetic. Modern society settings 
preferred. 

J. Parker Read, Jr., productions, Thomas H. Ince Studios, Culver 
City, Calif. Producing big specials, favors the original writer, and 
want vitally human stories. 

John M. Stahl Productions. Mayer Studios, 3800 Mission Rd., 
Los Angeles, Calif. Desires the filming of classics, but occasionally 
uses original stories. 

Katherine MacDonald Pictures Corp., Georgia and Girard Sts., 
Los Angeles, Calif. In the market for strong dramatic, human in¬ 
terest stories, might accept the material, from an unknown author, it 
it is particularly good. 



110 


PRODUCING COMPANIES AND DESIRES 


King Vidor Productions, 7200 Santa Monica Blvd., Hollywood, 
Calif. Interested principally in big dramatic stories interpreting 
American life. The story must contain realism, a definite theme, 
moral, purpose, and plot. 

Lois Weber Productions, 4634 Santa Monica Blvd., Los Angeles, 
Calif. Interested in considering both published material and good 
original stories, society dramas dealing with the affairs of every-day 
life. 

Maurice Tourneur Productions, Universal City, Los Angeles, 
Calif. Short stories are preferred, especially the published ones, but 
original scripts are accepted, that are unusual. 

Metro Pictures Corp., 1476 Broadway, New York City. Desire 
feasible scripts, both comedies and dramas, for their stars, also big 
stories for special production with all star casts, but not western 
stories, or others dealing with war, capital, or labor. 

Selznick Pictures Corp., West Fort Lee, New Jersey. Are in the 
market for high-grade stories, society dramas of modern times, clean- 
cut comedies for both male and female leads, and big stories full of 
action for special productions with opportunities for picturesque out¬ 
door scenes. All stories should furnish emotional opportunities for 
their stars. 

Thomas H. Ince Productions, Culver City, Calif. In the market 
for comedies, consisting of a sufficient amount of drama for five-reel 
pictures. Mr. Ince is also in the market for big productions that com¬ 
pel the interest of the public. Submit stories that will provide only 
good, clean interesting entertainment. 

Universal Film Mfg. Co., 1600 Broadway, New York City. Ad- 
- dress all stories to Scenario Dept., Universal City, Calif. Interested 
only in original stories having high merit, with strong emotional roles, 
character parts of the west, society dramas, or stories of the outdoors, 
and comedy dramas with strong roles for the heroine. Also in the 
market for serials. Although most of their productions are made 
from books, plays, or published stories, it may be worth the time to 
submit a manuscript for consideration. 

Vitagraph Co. of America, East 15th St. and Locust Ave., Brook¬ 
lyn, N. Y. In the market for good five-reel comedies or dramas for 
their stars. 

Warner Brothers Productions, Sunset Blvd., at Bronson, Los 
Angeles, Calif. Are producing two-reel comedies of a high-class type, 
also wild animal stories. Before submitting a manuscript it would be 
advisable to write them first. 


The following producing companies are principally interested only 
in published books, magazine stories, and plays which have had suc¬ 
cessful presentation. Only in exceptional cases would it be profitable 
to submit original manuscripts. 

Anita Stewart Productions, Mayer Studios, 3800 Mission Road,* 
Los Angeles, Calif. 

Charles Ray (presented by Arthur S. Kane), 25 West 43rd St., 
New York City. 






PRODUCING COMPANIES AND DESIRES 111 


Constance Talmadge Film Corp., 318 E. 48th St., New York City. 
The Dial Film Company, Brunton Studios, Los Angeles, Calif. 
Mack Sennett Comedies, 1712 Allessandro St., Los Angeles, Calif. 
Marshall Neilan Productions, 6642 Santa Monica Blvd., Hollywood, 
California. 

Norma Talmadge Film Corp., 318 East 48th St., New York City. 
Realart Pictures Corp., 469 Fifth Ave., New York City. 

Rolin Film Co., Culver City, Calif. 

Willatt Productions, Inc., Culver City, Calif. 


The following companies are in the market for serial stories: 
Pathe Exchange, Inc., 35 West 45th St., New York City. 

The Kosmick Film Co., Universal City, Calif. 

Universal Film Co., and Vitagraph Co. 

Write to them for all particulars. 
















112 


QUESTION IN REVIEW 


A Few Questions and Answers 


The following questions are answered for the benefit of the neV 
writer, that may be desired, at times by some: 

Q. How long should a detailed synopsis be? 

A. There is no set rule in this matter. A detailed synopsis forr 
should not contain unnecessary description or dialogue, yet everything 
that has an important bearing on the story should be included. 

Sometimes a story may be told in three to ten pages, while ii 
other stories it is necessary in possibly twenty to fifty, etc. 

It is best that a detailed synopsis be a little too long rather thai 
too short, for in attempting to be brief some important incident ma; 
be left out and the story weakened thereby, or useless. 

Q. What is the difference between a detailed synopsis and i 
brief synopsis? 

A. The detailed synopsis tells your story in a straightforwar< 
manner, omitting nothing that is of value in atmosphere, plot or char 
acterization, while the brief synopsis contains only a short statemen 
of the purpose of your story and situations. The originality or novelty 
should also be indicated. It is chiefly written to interest editors in th< 
reading of the detailed synopsis. 

Q. Should every little detail and happening be included in i 
photoplay synopsis? 

A. By all means, yes. Tell all you can, but be brief and develoi 
your action and incidents thoroughly. But it is not necessary t< 
describe every trivial movement, merely all actions and events thai 
advance the plot. 

Q. What is the difference between the terms “theme” and “plot”' 

A. Theme is the foundation or base upon which a story is 
written. Plot is the outline upon which a story is built. It is th( 
elaboration of your theme or story. The dictionary is explanatory. 

Q. In writing the Cast of Characters, is it necessary to explaii 
or describe each character? 

A. Give the names a brief description and state their relation¬ 
ship to each other. They are then understood by the reader. 

Q. What is meant by a “timely theme”? 

A. This phrase is really self-explanatory. It means a theme 
dealing with a present time subject of current interest or events. 






QUESTION IN REVIEW 


113 


Q. What protection is an author given his work of writings sub¬ 
mitted for consideration? 

A. If your stories remain unpublished they are protected under 
the common law without copyright registration, like other unpublished 
works. This protection is expressly affirmed in the copyright law in 
the following language: 

“That nothing in this act shall be construed to annul or limit the 
right of the author or proprietor of an unpublished work, at common 
law or in equity, to prevent the copying, publication, or use of such 
unpublished work without his consent, and to OBTAIN DAMAGES 
THEREFOR.” (Section 2 of the Act approved March 4, 1909.) 

Other information will be furnished by the Register of Copy¬ 
rights, Washington, D. C., upon request. 






114 SHORT STORY WRITING IS DIFFERENT 




Following is a Short Story which contains a good theme from 
life. But if it were to be used for a Motion Picture it would be 
necessary to be written with action, including different scenes and: 
other characters. I 

If your story is to be successful and accepted by a producing 
company of Motion Pictures, it must be written on an active theme. 

The writer of this book and story wishes it to be instructive to 
the new writer of Motion Pictures, that action in place of speech is 
considered by most all producing companies of the Motion Picture 
Industry, because it is essential that the story is to be told by the 
actors on the screen and not in person. 

The continuity writing of the following story should not be at¬ 
tempted. It is protected under the copyright law. 






SHORT STORY 


115 


“A Hasty Marriage” 

(MISTAKE IN LIFE) 
Copyright, 1922 
By Harold A. Mohr. 


In a department store, located in Toledo, Ohio, Dorothy Wade, a 
|oung lady of twenty-three years, is employed in the gent’s furnish- 
ngs department. She is an attractive looking girl and very popular 
imong her customers, whom she serves with pleasure of her duties. 

One of the customers in particular, a young man (Ralph Ellis), 
nakes all of his purchases from her in this department and never a 
lay is passed that he does not make a purchase of some kind. 

Ralph’s infatuation for Dorothy has been growing to love each 
[lay. Nerve of his own has inspired him to suggest a dinner party, 
which is accepted by Dorothy at the time of opportunity. 

After the dinner, Ralph suggests a theatre entertainment or some 
[notion picture. Dorothy is agreeable—a motion picture is selected. 

The picture was very interesting to both of them. In fact it 
appealed to both, for they considered themselves as one of the charac¬ 
ters in the production—“Is Marriage a Success?” 

Dorothy has been very lonesome in the past, being a stranger in 
this city, but she was careful in the selection of her companions. 

The following evening brings Ralph to fulfill the second appoint¬ 
ment. This evening Dorothy does not care to go away, but Ralph 
Surprises her as they walk toward a corner where many automobiles 
are parked. 

“Let us take a ride—which machine do you like?” asks Ralph. 
“Well,” replies Dorothy, deciding, “I rather prefer this one with the 
comfortable cushions—the sedan.” Ralph is pleased at the remark, 
because the one selected belonged to him. He replies: “Get in and 
we’ll take a ride.” Dorothy looks with surprise, as Ralph takes her by 
the arm, helping her into the auto. They enjoy a most wonderful 
evening. One evening after the other is agreed upon by the two seek¬ 
ing a companion, and friendship seems to be growing to love. 

One summer’s evening, while enjoying the cool breezes at a sum¬ 
mer resort in a canoe of comfort, decorated with fancy pillows and a 
little electric light attached, casting its reflection upon them, Dorothy 
and Ralph look at each other with expressions of love, as the canoe 
glids smoothly over the river, guided by the graceful skill of Ralph, 
with content. 

Indeed it was a pleasure to be on the water in a canoe of comfort, 
especially in the protection and company of one who professes to love. 






116 “A HASTY MARRIAGE” 


In the city it had been warm and the circulation of air wai 
very still, in comparison to the cool breezes on the river. 

Ralph has owned a canoe for a long time and is an expert canoeist; 
He delighted in adventure. Distance and surroundings meant nothin* 
to him. As an athlete he feared nothing. 

The splendid moonlight evening soon disappears, as the cloudi 
pass and the wind blows stronger. Other canoes have returned to thr 
boat house, while Ralph and Dorothy were still traveling and no 
noticing the approaching storm, being so interested in each other. 

Drop by drop the rain increases to a heavy downpour. There wa: 
no chance for Ralph and Dorothy to reach the boat house and n< 
shelter was near. 

Dorothy becomes very excited as the wind blows and the canoe 
rocks from side to side. Lightning and thunder accompany the storm 
which she has always feared, and the thought of being on a river ii 
a canoe, tossed about by the waves, only adds to her excitement. 

Ralph realizes this hazardous position and his only thoughts art 
of the protection of Dorothy. The sudden storm was entirely unex 
pected by both, and not at all welcome, being so far away fron 
shelter. Ralph places his coat over Dorothy for protection from th< 
rain. In his shirt sleeves and drenched he uses his cool and calir 
attitude by putting all the strength he has on each and every stroke 
of the paddle. 

The skill in handling a canoe is proven by Ralph as he beaches ii 
upon the nearest shore. Although there is no shelter anywhere neai 
the place they landed. Ralph quickly jumps from the canoe and pulls 
it upon the shore, while Dorothy remains in it. 

After dragging the canoe to a nearby tree, Dorothy gets out. The 
canoe is then turned over and a temporary shelter from the rain is 
made by them. Placing the rug and pillows on the ground, under¬ 
neath the overturned canoe, it is used to serve the purpose of 2 
shelter. 

It begins to rain harder and harder. As the rain patters dowr 
upon the overturned canoe the sound is like that of raining upon a 
tin roof. 

This kind of shelter is indeed not the best to be preferred, but 
better than none whatever, as it was to be this or nothing to protect 
them from the pouring down rain. 

Time seemed to pass very fast and the storm is soon forgotten by 
Ralph, as one conversation changes to another. 

Dorothy is in hopes that it would stop raining; it is getting late 
and most uncomfortable, not being accustomed to this kind of shelter. 

Ralph has proved himself as a protector and as conversation is 
carried on he decides to propose marriage, which has been thought 
about by him for some time. This is, indeed, not the very best place 
to propose marriage to Dorothy, but when a man is in love most any¬ 
time or place is suitable to him. Especially when the nerve and 
opportunity presents itself, as in this occasion. 

He proposes marriage, saying it is a case of love at first sight, 
and knew his love would be everlasting. 






“A HASTY MARRIAGE ’ 


117 


Dorothy replies, with a smile and a twinkle of the eye: “But, 
lalph, you have only met me two months ago. Of course I do care 
or you as a good friend.” Ralph looks at Dorothy in surprise, and 
eplies: “I want to be more than just a friend. It seems as if I 
ave known you for years, dear.” 

The words of Ralph please Dorothy very much, but she is not 
hinking of marriage or of an engagement at the present time and 
eplies: “But, Ralph, I am not the girl to think of marrying anyone 
t present. You know I am still young and enjoy having good times.” 

“Well, Dorothy,” replies Ralph, “probably I am a little hasty about 
carrying you, but I want you to know that I love you.” 

“That is wonderful of you,” Dorothy replies, “but probably some 
ay we might be married, if you still will care for me.” The subject is 
hanged by Dorothy, as she looks out from under the canoe, saying: 
I believe it has stopped raining and it is very late. We had better 
tart for home.” 

“Yes, Dorothy, I suppose we had better start for home, but I 
vould rather be here with you,” replies Ralph. 

It did not take long to rearrange the canoe for the trip back to 
he boat house. Again Ralph shows his skill in handling a canoe as he 
lushes it away from shore and jumps into it, while in motion. 

Dorothy is pleased to be on her way home and still holding Ralph’s 
riendship and love. Hardly a word has been spoken by either during 
ihe return. 

As they near the boat house Ralph says: “Dorothy, dear, may I 
lisk a question?” Dorothy replies, with a smile: “Yes, Ralph, but not 
;he same as before.” 

“Well, it is not the same,” replies Ralph. “So, will you please 
;ell me who that man of about thirty-five years old is that I see you 
with on evenings, occasionally, that we are not with each other?” 
Dorothy is very much surprised, not knowing Ralph had seen her 
with him. She replies: “Why, Ralph, that man is not thirty-five, he 
s thirty years old. His name is Ben Dahl, and a gentleman, too. 

“A gentleman,” replies Ralph, “that’s what they might call them 
in England, but in the United States they call his type a gambler, or a 
tramp. I have seen him before and probably know him better, or as 
well, as you do. I want to tell you, Dorothy, he is no man for you 
|to go with.” 

Dorothy pauses, her heart beating with surprise. Her eyes dropped, 
then looking directly at Ralph with expression of love and lifting her 
head, she replies: 

“Ralph, dear, I’m surprised at you. I believe you are inclined to 
be jealous. Mr. Dahl has been nice to me.” . 

Ralph’s reply is very stern, in his angry mood: You might call 
him nice, because he made you a present of a new dress. At least, 
that is what a friend of mine told me.” . 

A silence of speech comes over them as they approach the boat 
house, and the canoe draws up alongside of the dock. . 

Ralph gets out on the landing, takes Dorothy by the hand, helping 
her out of the canoe. It seems as if an enjoyable evening has been 
changed to sorrow. 



118 


“A HASTY MARRIAGE” 


Neither one has a word to say and Dorothy is in deep though! 
while Ralph places the canoe in the boat house and the equipment ir 
the locker. 

They are the only ones present, as it is late. 

Dorothy walks slowly to the door and Ralph follows, taking hei 
by the arm to escort her up the steps. Not a word is spoken. 
Ralph is choking with words and doing his best not to speak until 
they are seated in his automobile, parked near the dance hall. 

As they are seated and ready to drive home, Dorothy opens the 
conversation: “Well, Ralph, you know we are not engaged to be 
married and I never promised you steady company.” “That’s not my 
fault,” replies Ralph, “you have made your own decision, but I am 
going to make one, too.” 

Dorothy becomes anxious and inquires: “What is your decision, 
Ralph?” 

He replies: “I am going to make you love me and care for no 
other company but mine.” 

“That is just fine. I do hope you succeed. It may be possible 
some day, but not at present.” 

“Why not at present ? How do you suppose I can succeed if you 
don’t allow me the opportunity, dear?” 

“Well, Ralph,” replies Dorothy, hesitating, “I—I might some day, 
but I—I just cannot at present. Sometime I’ll explain. At present 
I don’t care to be married or engaged either.” 

Ralph begins to wonder what her secret is and his suspicion is 
aroused. He inquires, but no answer is given to his satisfaction. 

“Well,” replies Ralph, “if you feel like that, it is entirely up to 
you. But may I ask you not to go at any time or place with Ben 
Dahl? He is the kind that cares not for any girl, only those of his 
class following a speedy life. He is half intoxicated from drinking 
poison moonshine, or using dope of some kind every day. Dorothy, 
for your own self respect, you should not hesitate to promise. In 
fact, you can choose between either he or I.” 

His request seemed to be a hard thing for Dorothy to answer, 
but she finally replies: “You certainly are a selfish boy, Ralph, but 
I’ll promise you.” 

Ralph now feels that he has gained a good point, and he has, for 
his statements of Ben Dahl were true and Dorothy knew they were. 

As the machine stops in front of Dorothy’s home, where she was 
rooming, they bid each other good night in a loving way, and Ralph 
asks to call for her the following evening at the store. 

“No, not tomorrow night, Ralph,” is Dorothy’s reply. “My girl 
friend and I are going to a show, but come in the store and see me 
in the afternoon.” 

Ralph is agreeable, and drives away tipping his hat. 

The next day brings Ralph in the store to see Dorothy and make 
a purchase as usual. Other girls in the same department working 
with Dorothy have often complimented her upon having such a nice, 
refined gentleman friend as Ralph. Of course she knew it, too. 







“A HASTY MARRIAGE ” 


119 


After Ralph knew it was useless to again ask Dorothy to accom¬ 
pany him that evening, the conversation with her is soon brought to 
a close by promising to call for her at noon the next day for luncheon 
and a dinner after store hours. 

These invitations to meals meant quite a saving for a girl in 
; Dorothy’s position. Being alone and supporting herself on a salary of 
fifteen dollars a week, trying to keep in style, seemed to be a hard 
task for her. 

At closing time that same day, Dorothy hurries to leave the store. 
Outside waiting is Ben Dahl, keeping the appointment with her. They 
greet each other and go to dinner. As they leave the restaurant, 
Dorothy takes Ben by the arm. Dorothy is hoping for just this one 
time she is not seen by Ralph, because it is intended by her to be the 
last time with Ben as her escort. At times fate will take a hand. 
When something is hoped not to occur, that is just the time it most 
j usually does. 

As the two are walking toward a theater, Ralph turns the corner 
driving directly in front of them and blowing the horn. Dorothy’s 
attention is attracted to the machine. She sees Ralph and speaks to 
him with a nod of the head and a smile. Both Ben and Ralph tip 
their hats; Ralph steps on the gas and speeds away. 

Dorothy is very much embarrassed at her discovery, and could 
have fallen through the sidewalk, flown in the air, or most anything 
to have avoided being seen, after making a faithful promise to Ralph. 

At the entrance of the theatre, Dorothy decides her evening has 
been a disappointment and says: “Ben, I don’t care to see this 
' show, or any other. I have an awful headache, please take me home.” 

In a rough way Ben replies, “I guess that guy, Ralph, must be 
I kind of a Sheik, as girls call some fellows, ain’t he ? Anyhow, it 
> sure looks as if he has you going at his command. Did you ever tell 
him what happened in Chicago ? Come on and see the show and forget 
about him.” 

“No,” quickly replies Dorothy, “I am going home, you might ac¬ 
company me, if you wish.” 

Ben decides to call it an evening and take Dorothy home as she 
wishes. As they get on a street car, Dorothy is very nervous and 
anxious to get home. Ben is angry at her and says, “I had another 
dress picked out for you, that I seen in a window, but if you’re going 
to be like this with me, we’ll call it off between us, and Ralph can buy 
ity for you.” 

Dorothy is enraged and replies, “That is just fine and pleases me. 
But Ralph or no one else will ever have the opportunity to offer me a 
present of any clothes, even if I am compelled to wear aprons instead 
of pretty dresses.” 

“No man is a gentleman, who would make a present of a dress to 
a lady, then tell other people, about buying her clothes to wear.” 

Indeed the above statement is very true, especially in Dorothy’s 
case, for she was a girl alone in the world. Both of her parents have 
passed beyond. 

The only relative, and true friend to be relied upon is her sister, 
in a distant city. , 

“Twenty-third Street,” calls the conductor. Ben looks to Dorothy, 
she is looking out the window of the street car in a daze of wonder, 



120 


“A HASTY MARRIAGE ” 


thinking of the promise made to Ralph the day before. Ben pinches 
her on the arm and says, “This is your get-off, did you forget your 
age?” 

They arise from their seats without a word to each other, and are 
the only persons to get off at that corner. As they walk toward Dor¬ 
othy’s home, a machine stops along the curb. 

It is recognized by both of them as Ralph’s car. Dorothy stops to 
think. Ben begins to wonder and figure some way out. He is accus¬ 
tomed to such experiences and his decision is soon formed. Dorothy 
begins to tremble at each footstep, as they walk toward the house. 
Ben has always carried a revolver with him for self-protection, as he 
claims, and possibly would use it without a first thought. 

A dark figure steps out of the machine, as they approach, the 
identity of the person cannot be distinguished on account of the dark¬ 
ness. The auto does look like the one belonging to Ralph, and Dorothy 
should know it from others, because of the rides she has had previously 
with him. 

The suspected figure steps forward as Dorothy and Ben arrive in 
front of the house. It is Ralph in a jealous mood. He shouts, “Wait a 
moment, I want to talk to both of you, right now.” 

Ben is ready for trouble and has his hand on the revolver, ready 
for action, but Ralph came for no such trouble whatever. His mission 
was to talk to Dorothy and know the mistake and reason for her very 
unfaithful promise to him. 

Ralph looks at both of them from head to foot and to Dorothy, 
he says, “I am very much surprised at your actions. I had faith in 
you and trusted you, now please explain yourself.” 

Ben in his usual half-intoxicated condition steps forward to 
answer the question, in a sarcastic way. “Well, what business is it of 
yours, what Dora does?” 

It did not take Ralph long to reply, “I’ll make it my business to 
hear and find the truth.” “Well, then Dora,” replies Ben, “why don’t 
you tell this man, about— (Dorothy interrupted), “It is not necessary 
for you to fell me what to do.” 

“I will answer to Ralph for myself. I bid you good-night and I 
hope goodbye, Ben Dahl.” 

Ben; is very much surprised at the remarks from Dorothy, and his 
anger is much aroused. He replies, “Well, I’d like to hear you tell him 
the truth while I’m here, and if you don’t, I’ll tell him. Don’t try to 
string him along—’cause if he likes you as he tries to claim, he’ll 
like you, maybe, after the truth is known. So fess us, and see if he 
still cares for you, Dora. 

This, and other remarks, made Dorothy very angry. Twisting her 
upper lip and knowing the truth is to be told, she replies, “Ralph, 
dear, just last evening I faithfully promised you not to go, or be seen, 
with Ben Dahl. I am sorry, very sorry, to say that Ben insisted upon 
me going to dinner with him, this evening and also a show. I accepted 
the dinner, but not the show.” Ben interrupts—“Well, he knows that, 
tell him about your time in Chicago.” 

Dorothy, in her excitement, replies, “I will, but I do not think it 
necessary for you to remain any longer.” Ben feels very much insulted 
at her remark and replies, “If you mean that, Dora, then check me out, 
and draw a line across my name. Don’t let swell clothes get the best 
of you again, like when you met me in Chicago.” 



“A HASTY MARRIAGE ’ 


121 


Ben then looks at Ralph, saying: “Young man, you look to be 
j about twenty-five years old. It is up to you to use judgment. My 
experience and thirty-five years of life have been a good lesson to me. 
i Learn for yourself.” 

Ralph is spellbound, not knowing which one to believe or have 
(Confidence in on account of Dorothy’s broken promise to him. Ben 
walks away, after his insulting remarks, with a sarcastic smile. Both 
Dorothy and Ralph watch Ben as he walks toward the car-line. They 
i look at each other with expressions of wonder. Dorothy invites, to 
come upon the porch of the only home known to her, the one man she 
| has confidence in—Ralph. He accepts the invitation. They both 
occupy the porch swing and are alone. As they look into each other’s 
jeyes with expression of love and sympathy, Ralph says: “Dorothy, 
dear, I still love you and have confidence in you. Do you not think a 
i confession would be the best?” 

Dorothy lifts her head, looks into Ralph’s eyes and replies, “Yes, 
I feel that you should know, and will tell my past to you.” 

“I have been married; it was four years ago when I was. only 
nineteen years old. I will admit being just a foolish girl at that time— 
I was looking for a home and pretty clothes with no other thought, 
but popularity among all friends. Clothes were my desire. I met 
Dan Gasel, he seemed to be a perfect gentleman. He claimed to love 
me, adore me, respect and honor me. Oh, everything seemed so won- 
! derful. I wanted to be good and a loyal abiding lawful wife. 

We were married after only meeting each other within two 
; months. 

“I guess we were just young, inexperienced, and I was a very 
i foolish, fickle-minded girl. The first year of our marriage a child was 
I born. His name is Kenneth Gasel and is being taken care of by my 
sister, who is married to a brother of Ben Dahl, living in Chicago. You 
understand, Ben is a brother of my brother-in-law—my sister’s hus- 
j band—but he is altogether different than his brother. 

After Dan and I had parted, over a foolish misunderstanding, 
little Kenneth and I were alone in the world. I could not make both 
ends meet, or make life go for us both. Kenneth became very ill, 
after we had been deserted by Dan, and my sister offered to help us 
and take care of him. It was indeed an awful sacrifice for me to 
part with Kenneth, but I realized my sister could give him a better 
home than I and she was good to him. He is a wonderful little boy, 
and so intelligent too. I know you would like him if you were to 
see him. 

Ben Dahl was the cause of my home being broken, and the separa¬ 
tion of my child and I. Dan, my husband, was very quick-tempered 
and jealous. If I were to visit my sister at her home, the gossiping 
neighbors would find some way of telling Dan. He would always 
accuse me of going to see Ben Dahl, instead of my sister, because he 
had a room there in his brother’s home. 

I came to Toledo one year ago to get away from Ben. He has 
been constantly bothering me since Dan went away. Where Dan is 
today, I do not know, but we are still married according to the law, 
although he has deserted me. 

“Little Kenneth is now three years old. His birthday was the 
second of last month. My love is all for him, my son, my boy, 
Kenneth. 



122 


“A HASTY MARRIAGE” 


I know of nothing else in my past that would interest you, Ralph, 
and as I told you that sometime an explanation would be made, you 
have heard and know all.” 

Dorothy’s confession was an awful blow and surprise to Ralph, 
who had had so much confidence in her and practically his real love 
affair as it seemed to him. While sitting alongside of Dorothy ln t* 1 ® 
porch swing, with one arm around her and wishing her experience had 
not happened, he removes his arm and clasps her by the hand as the 
big sorrowful tears roll down her cheeks. He says, “Dorothy, dear, 
we all have many experiences in life. I think about the next experi¬ 
ence you are about to have will be a divorce or be re-united with your 
husband. It is important that one or the other should be.” 

“That is all very true,” replies Dorothy, “but I have learned from 
my experience in the past, that Dan and I could never be happy again. 
He was hateful to me and my baby.” 

“Then a divorce may be the right way to happiness,” replies 
Ralph. “Yes, no doubt,” is Dorothy’s quick reply. “Well then,” replies 
Ralph, “I will secure my attorney to start proceedings at once, if you 
wish.” 

Dorothy looks to Ralph in surprise saying, “I suppose it will be 
best that I am free—I do not even know where Dan is.” 

Time has passed very fast and it is late—they bid each other a 
loving good-night. 

The following day, Dorothy and Ralph meet at noon. They go to 
the attorney’s office and arrangement of the divorce proceedings are 
made. 

Ralph still cares for Dorothy and they seem very contented to be 
in the company of each other. Dorothy returns to her work at the 
store and she is pleased to have Ralph call for her at any time, 
now, that! he wishes. 

One month later Dorothy is granted her divorce on the grounds 
of cruelty and desertion. She is again free and feels like a bird out 
of a cage. 

Her love for Ralph has grown stronger each day in the past and 
Ben Dahl is no more on her list. It is Ralph, who is cared for, by her. 

He is very much pleased to have accomplished the winning of 
Dorothy’s attention and love. On a quiet evening, as they are seated 
again in the porch swing, contented with each other, Ralph looks 
to Dorothy in question and asks, “What is your opinion of married 
life, from the experience you have had, dear?” 

Dorothy stops to think, then replies to his question exactly as 
her thoughts are, “I do feel that married life can be a success. But it 
is for both husband and wife to make it so. They should be loyal, 
truthful and trust each other. They could be helpful to each other 
with suggestions of advice, that both may be successful and enjoy 
life together. There should not be a feeling that one or the other 
should be the boss, or be commanding. 

“In all respects marriage should be termed as life partners, and 
not as some people class it, as an advertising proposition to gain 
notoriety. 

“The first mistake in marriage is made by both, at too young an 
age, and not considering the responsibilities. 



“A HASTY MARRIAGE ” 


123 


“I at the age of nineteen years was too young and should have 
never married. I will admit, my thoughts were only of good times 
and pretty clothes, enjoying myself at dances, trying to be popular 
among new friends and ever so many acquaintances. Dancing is fine, 
but I do not think it the place for a girl, who is married, unless 
accompanied with her husband, and it is agreeable to both of them to 
attend. 

Jealousy should not exist. Both should be happy and contented 
with each other and satisfied they are married. 

“To live a successful marriage is very possible. Harmony between 
both should be the first consideration. Although it is true in most all 
marriages, little misunderstandings will arise at times over just trifle 
things and more trouble will be forthcoming unless judgment and 
common sense consideration is used by both. It is not fair to one or 
the other to misjudge and continue to feel like holding a grudge over 
a possible thing that can be brought to an understanding between 
them, if they try. 

“That is my conception of how a successful and happy married life 
may be had, and I feel confident that even most all young marriages 
can be successful—if only common sense judgment and consideration 
are used by both. But usually in the young age it is lacking. 

“I have learned from experience what should have been known 
before, but you see I was too young and really not ready to settle 
down to married life. Neither was Dan at that time, which was the 
mistake of a Hasty Marriage.” 

Ralph looks to Dorothy and replies, “Dorothy, dear, I do believe 
your idea of a happy married life to be very true and I am going to 
agree with you. 

“To learn something by having the experience is costly and occa¬ 
sionally very painful. I, too, am compelled to confess my past experi¬ 
ence has been the same as you have had.” 

At this remark, Dorothy looks at Ralph very much surprised, 
replying: “In what way do you mean? Do you mean to say that 
you were—” (Ralph interrupts) “Yes, I was married at the age of 
twenty-one, just four years ago.” This surely is a surprise to Dorothy, 
and Ralph keeps on talking. 

“I thought I was a man, at that age, and being old enough to vote, 
thought I was old enough to get married. My early marriage was a 
failure because both of us did not use reasonable judgment.” 

“You certainly have surprised me, and you never told me before,” 
replies Dorothy, with a look of uncertainty. “I did not think it neces¬ 
sary to tell you before, but you know it now,” was the reply from 
Ralph with a smile. 

They both look at each other, thinking of their coincidence and 
past experience of their marriages. The mistake was made by both 
in younger years. 

Ralph clasps Dorothy by the hand, saying: “I suppose we could 
have a successful marriage, now that we have learned our lesson, 
couldn't we, Dorothy?” 

In surprise, Dorothy replies: “Are you really proposing marriage 
for another adventure?” “Not another adventure,” replies Ralph, 



124 


‘A HASTY MARRIAGE” 


“but a sane and everlasting, common sense, successful marriage.” 
Dorothy closes her eyes in thought, then opens them to speak: “I 
don’t know what to say. Shall I say, ‘This is so sudden,’ or ‘Name 
the day?”’ 

“Name the day,” is the prompt reply from Ralph. “Surely, to¬ 
morrow, if you wish. I do believe I have found a woman of good 
judgment who possesses common sense. You are one out of many I 
have met, dear.” 

“Oh, thank you,” is Dorothy’s reply, “I suppose you have met 
many others.” 

“You are right,” replies Ralph. “That was a privilege at the 
time. Now, don’t try to show your jealousy; remember what you 
have said.” 

After thinking for a short time, Dorothy replies: “I am not 
exactly jealous, but I wish we could have met years ago. You, Ralph, 
are one man out of many I have met that truthfully does possess the 
common sense of life, and I am very pleased to have been so fortunate 
to meet you. 

“My experience in the past has been a lesson to be remembered, 
and, Ralph dear, I will be a true and loyal wife to you always. At one 
time I thought beautiful clothes and a high life was my ambition, as 
many other girls have thought, but I realize my true ambition is a 
happy home with the man I love. We will be married one week from 
today, if you are satisfied.” 

Ralph takes her into his arms, embracing with a kiss of true love, 
then replies: “You know, dear, that I love you and feel our marriage 
will mean much happiness to both of us, forever lasting contentment. 
We will start buying furniture tomorrow, and have an apartment 
ready for us on our wedding day.” 

The evening has been most wonderful for both of them, and Ralph 
starts for home, inspired with the thoughts of Dorothy and his 
new home. 

The very next morning Ralph and Dorothy purchase their furni¬ 
ture and order it delivered to a cozy little apartment for their future 
wedding day. 

The week seemed to pass very slowly for both of them. They 
were anxious for the new life and home. 

The wedding day finally arrives. The furniture is delivered and 
the first day of their marriage the new home is arranged. 

The following day, Mr. and Mrs. Ralph Ellis decide upon their 
honeymoon trip, driving their auto to Chicago. 

After having a very pleasant trip, they arrive in Chicago and 
call at the home of Dorothy’s sister. Little Kenneth surely is de¬ 
lighted and so is Dorothy to see her son again, knowing they were not 
to be parted. 

Dorothy introduces her sister and husband to Ralph, as her 
husband. The happy greeting is not to be forgotten between them. 

The time of visiting was limited, as both Dorothy and Ralph 
wished to be in their own home and have little Kenneth with them. 
After passing two days in Chicago, the homeward trip is decided upon. 



‘A HASTY MARRIAGE” 


125 


Kenneth never has had the pleasure of ridipg in an automobile pre¬ 
viously and you can imagine how pleased he is to have the opportunity. 

Ralph, now his step-father, greeted him as a son of his own, and 
both are regular pals to each other. 

All preparations have been made for the return trip to their new 
home, on the third morning, to Toledo. 

After an enjoyable trip, the new home where all can rest is surely 
appreciated. Kenneth opens his eyes with surprise as he sees his new 
home, with a little play room, furnished all for himself, with toys of 
many kinds. 

This was not Christmas, according to the calendar, but it certainly 
seemed like it to him. It is indeed a pleasure for both Dorothy and 
Ralph to see the youngster so happy and well pleased. 

Little Kenneth, just three years old, could not remember his father 
because he has not seen him for over two years. Ralph fulfills the 
father’s position very well, and enjoys to hear Kenneth call him daddy. 

Dorothy appreciates the love of Ralph for her and Kenneth. The 
new home is one to be appreciated by the three. It is nicely furnished 
and arranged with beautiful interior decorations. One of the most 
important decorations to make a comfortable, happy home is the con¬ 
tentment and love of the three. 

Two years of contentment and happiness follow the successful 
marriage of Ralph and Dorothy, and no doubt many other happy years 
will follow with loving thoughts and pleasure, because both use judg¬ 
ment and common sense. 

Their previous experience has taught them a lesson, it is true, as 
it teaches many others. And from the experience of others it is pos¬ 
sible for other persons to profit. Many a mistake is made by not first 
using good judgment, thought and consideration. 

The story you have read is one which is true. To this very day 
Ralph and Dorothy, as named in this story, are very happily married. 
Kenneth is very contented and a bright young boy, full of tricks and 
speech. Very few children of his age can compete with him. Ralph 
has adopted him as his son. 

Without question their marriage will prove to be a success. 

The names used in this story are fictitious, but it is an actual 
occurrence, as related to the writer, known to be true. 


MORAL—If contemplated marriages, either young or old, were 
first given careful thought, good judgment and consideration, without 
a selfish inspiration or infatuation before the attempt, there would be 
many, very many, happy, everlasting marriages. 




126 


THE PHOTOPLAY WRITERS' AID BOOK 


Be sure of your theme and plot — 
Be sure to he original and know 
your Story to be possible. “Keep 
your Story Real.'’ 




THE PHOTOPLAY WRITERS ’ AID BOOK 


127 


This book has been published with the desired purpose that it be 
of benefit and instructive to all persons, especially the aspirant writer 
of Photoplays, to give an idea of the fundamental principles. 

If you have read and studied this book you should know and pos¬ 
sess the foundation of writing for motion pictures. 

Your own creative ability will bring forth your success, if you 
put your imaginary thoughts in writing. Thereby the originality of 
your story will be proven and the key will unlock the door, admitting 
you toward success. 

To the new writer this book should be of great value. 

If you like to write, success will follow. In conclusion we wish 
you to be a big success. 











1 







. 


























•• 
































r >\ 


. 

































- 

- 
















































s"/\ 9 ,. 'o 







^ 'O 0° 

^ 0 X 

\ : / ^ ”* 

* >!• rj' ^ 

tv*. V K0, v< —. "> 

Rf ’ ■%, ' ^ . 

PP - /^SfeCv y<» 






,V 



~ uvs^- ^ 

O <* NK ^ * or 

*«.'*■ s .., « 5 * •»»•’ \\> v 

'-a:v g> v\»' 

* * % $> * 


**■ 



A 


V l B 


<s> <-> 

* 

O y o * x * , 0 ^ 

^ ^ . o 



-V 


N G 





To o x ® 

* 

b5 ^ *■ 

C^V L \ ‘ (V <.,0 •» 

r * °/- 9 > * 81 '" s* ** >■* ^ * 

^ - v ^.xO^ > v \^> 








^ &y 0 * X * xG^ 

, ^ S w y ^ , 



° 1 

A V ^ 

° * 

° 9> <d ° 

° A^ ° 

^ 'V •-> 

/ llt %, 

.# v“ l '*% °o 

*\ * -9 




w ° o 5 <>w/i\) w ^ 

Vv ,\. •/.((sWa*'’ •£- <A* * ^$£§HG* "’5* 

^ ^ - fMy>x ° ■%- «? - 



j2> «fc 


4 




W 
rl -r 


fo> v 

I* ^ 




a ^3 c> A O V ^ 

O- y o * x * , 0 ^ <9 

0 k c 0 N c * 

O G » r-SSW ^ ^ 

^ j^OOAV^ y 


° o' ; 



** .(f ^ *t / ^ \s^ «\ ^ 

** /V‘^% 

' £ ; _ ^ 

^TTGv^ .. V^’* /' 

-<•<>,> , 0 ‘ s'”' * V V »’ * 0 f > , 9 ‘ 

■i - X ^ ; A y,v ^ < 

-* o xOv^ ^p. o 

\ %. <0,9* \(y <^" U ^ •?, 



^ cA » 

o v^>. < 1 ^ o 

^ ^ s 2 
° \\A ,/y >. O 



s \ <x 

.^X X <X^ 1 »* 


o' 




Loo. 

[ A y 

o % 

t, c- v v ' «■ ' " " ' o . v . 

' V * .W* v . ^ * 

V S v 



'** <$ . 

.V 1 % '. 


o 





° 0- A< 


••’ A^ V< V, » 

*> \> O 

\y O' & 

**’V' V .-.V ,,4 /c 

,-. L ' '’-SSSW 

































































































































